We went to the set to see everybody’s last day because not only were we saying, “I’ll miss this character,” but we knew what those actors did to become those characters. I was always waiting for that phone call for me, saying “Jamie, we showing up for you.”ĪR: I always say Baltimore was the best character on the show because it held us really close to each other. Williams) saying, “It’s so-and-so’s last day, so we’re all showing up on set.” That’s something that always stays with me. ![]() JH: Those were the moments for me when I realised how special it was: the phone calls from either Andre or Mike (Michael K. We also had this policy with the actors themselves, whenever someone was being killed we would all go to the set on their final day and say goodbye to them. The city itself is this character that we pay homage to. I got a sense from what was happening that I was going to be this sort of moral compass for McNulty, but what I did pick up was the fact that Baltimore itself was going to be the character that we most remember at the end, and ultimately that's what we get through that last montage. WP: Until the last minute we really didn't know where we were going. Next thing you know we're standing in a warehouse pounding cognac. Eventually, everybody spoke and it became like an AA meeting.ĭS: I would never in my life have thought to call Robert Parker up or ask him to show me how to taste wine like that. Then I made a terrible speech and it just got worse and worse. He had said to us, “When you finally wrap, I want you to open this 100-year-old bottle of cognac,” and we did, so I can't remember a great deal about it! I think Wendell was the first to speak to the crew because he was the soul of the show, and he made an incredibly moving speech. That will be the longest-lasting, most impactful thing.ĭominic West: Wasn't it an all-night shoot that ended about five o'clock in the morning? And we'd been out that week with Robert Parker, the famous wine critic who lives in Baltimore. It's about the work that you do and the people that you meet. Wendell Pierce: On the last day, one by one, we shot our final lines and said, “Well, I think we made something special”, and I'll remember it for the rest of my life. We were very much interested in heading to that moment of saying: “And in the end, nobody paid attention.” It was about looking back at the viewer and saying: while this is going on in your country, what were you attending to? What did you think mattered? Of course, you're in this world where murder has become an industrial form on the streets of Baltimore. Now that's entertainment.ĭavid Simon: It was designed so that the last season would turn the critique of institutions that we had done for the first four on, not just the media, but ourselves. ![]() ![]() And Simon even gave us one teensy happy ending as a treat, as recovering addict Bubbles (Andre Royo) emerged from the basement in his sister's house – where he had initially been banished – to have dinner with his family for the first time in decades. But there was room for some of the show's trademark whiskey-soaked levity, too, with McNulty's iconic Detective's Wake, wherein the departing officer (leaving the force, rather than dead) was laid out on a table in an Irish bar while the others serenade him. ![]() It was mostly harrowing and sad, as the youngsters we'd followed from the public school system to the drug trade in season four took up their new positions as either addicts or dealers, and once-righteous politician Tommy Garcetti went full Greasy Mayor Mode. The sprawling series finale, “-30-” (an old-school journalistic term used to denote the end of a story), did just that, maintaining the authenticity that has, 20 years on from its finale, solidified it as one of the top two TV shows of all time (put your dukes up, Sopranos guys). ©Copyright 2000-2005 Home Box Office Inc.
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