By at 5:23 pm


JAX : “I’m sorry, JT. It was too late for me. I was already inside it. And
Gemma… she had plans. But it’s not to late for my boys. I promise, they will never know this life. I understand who you are now. What you did. I love you, dad.”


That’s a wrap on Sons of Anarchy! Can you believe it? How’s everyone feeling out there? It’s hard to believe that this seven-year journey has come to an end. I wanted to share with you pictures from set on the very last day of filming the series to give you a taste of the behind-the-scenes action. The last day consisted of Jax’s ride on Highway 580 while being chased by several cop cars. Our crew did an outstanding job getting those beautiful shots of Jax’s final ride. The shots included a helicopter, camera bike and pursuit vehicle. (pics below)


When we called the final wrap, Kurt Sutter, Katey Sagal, Paris Barclay and Charlie Hunnam all addressed the crew expressing gratitude. There were a lot of tears, hugs and goodbyes but also happiness of completing a journey.


We wouldn’t have the success of this show without our loyal and dedicated fans. This journey we embarked is yours just as much as it is ours… so thank you!!


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By at 8:53 pm

“I love you, Jackson. From the deepest, purest part of my heart.” 

Wow. What an episode. I can’t even tell you the amount of times I cried while watching this episode and I’ve seen it more than once. We lost three beloved characters, Gemma, Juice and Unser. Each of them brought something different to the series whether you loved them or hated them. They will be missed. And how about that song, “Make it Rain”?! Ed Sheeran is an incredible artist, the song was haunting and a perfect way to end the episode.


I wanted to share some pictures from tonight’s episode of Anarchy Afterword, featuring guests Kurt Sutter, Paris Barclay, Dayton Callie, Katey Sagal, and hosted by super fan Kevin Ryder. We are all such huge Sons of Anarchy fans and love to come together each week and geek out with the rest of you as Kurt tells us the methods to his madness. Even with the heavy episodes we find a way to laugh!


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By at 9:45 pm

This episode killed me.  The scene between Juice and Jax was absolutely heart wrenching.  The acting between Theo Rossi and Charlie Hunnam was extraordinary, I felt the depth of pain that both of those characters felt.  Speaking of acting, how incredible was Jimmy Smits in the scene when Nero finds out the real truth about Gemma?  Good. God.  What an incredible tear jerking moment.   It’s hard to fathom that we have only two episodes left of the series.  What do you think will happen?  What is Jax going to do with the information Juice told him?  And where does Nero fit in?

This past weekend I went to the Barnes and Noble book signing for the new book, Sons of Anarchy:  Bratva, written by Christopher Golden.  The book is a companion piece set after the fourth season of Sons of Anarchy from the mind of Kurt Sutter.  You can check out the book here.


Kurt was on hand to sign copies of the books for all the fans who showed up on Saturday.  It was a great event and we have some pretty awesome fans!




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By at 5:45 pm

The cat is FINALLY out of the bag!!! This episode had so many incredible moments it was hard to keep up. Tig and Venus were amazing and that opening montage? Wow. I can’t wait to see what happens next week.

One of the great things about Sons of Anarchy is the incredible music that music supervisor Bob Thiele and Kurt Sutter introduce through out show. I recently sat down with Jake Smith from The White Buffalo whose songs have appeared in countless episodes. In fact every time I think of an iconic moment from the series, I remember the song that was playing and it’s always performed by The White Buffalo with Jake’s hauntingly beautiful voice. It was so incredible meeting him and hearing about what he had to say, take a look.

How did you originally become involved with Sons of Anarchy?

At the time I had no label, management, or publisher. What I did have was a good lawyer, Steve Sessa. He asked Bob Thiele the Music Supervisor to lunch and pitched my music to him. Steve was a huge SOA fan and saw the parallels of good and evil in the show and in my compositions. I’ve now had 8 or 9 original songs placed and have collaborated on others vocally.

In the season 4 finale, your song House of the Rising Sun played over the closing montage. I noticed that the words were changed to fit the show. Can you discuss the creative process of making the song?

I had little to do with HOTRS lyrically but only lent my voice to the process. Most of my songs used in the series were previously recorded and not intended for the show. Songs like, “The Matador”, “Wish it was True”, “Oh Darlin What Have I Done” and “The Whistler” all seemed to just fit perfectly to help guide the storyline.

What song were you most proud of that Kurt approached you about incorporating onto Sons of Anarchy?

We are actually working on a track for an upcoming show with lyrics penned by Kurt himself and put to music and melody by Bob and myself. It’s both disturbing and beautiful all at the same time.

What’s up next for The White Buffalo?
We have begun preproduction on the album and hope to release in the middle of 2015. Also I’m playing live and touring all the time.

To check out more of The White Buffalo’s amazing music check out their iTunes page: and check out their web page for all latest on The White Buffalo:


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By at 12:21 am

R.I.P Bobby Munson. It seems that things are unraveling fast and Jax has lost a brother who meant quite a deal to him. Bobby always wanted what was best for the club. He was the moral compass. He was the compassionate fighter for what was right. His mark on the club and those around him will forever be missed.


Mark Boone JR did an incredible job bringing out the human side to Bobby. From Elvis to porn accountant to the true consigliore, he was a force. The last day on set for Boone was a somber one. All of the casts were there support him filming his last scenes, even the ones who were not working. The cast and crew are a family and support one another until the end.


Four more episodes to go kids, are you ready? Do you think Abel will make a move and tell Jax, Wendy or even Gemma what he heard? And what about poor Juice! He is living his own private hell. I’m not sure if I’m ready for what happens next!!



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By at 9:22 pm

Bobby! Poor sweet Bobby, I don’t if I can take much more of him being torture. And Jury? Wow. Jax is making some pretty rash decisions, who do you think is the rat? And how about Abel? He is starting to be a force to be reckoned with! Gemma has her hands full. With so much going on in this episode, I decided to sit down with Director, Writer and Producer Charles Murray to discuss his directing debut on Sons of Anarchy!

I heard this is your television-directing debut, what is the difference from shooting your recent feature, “Things Never Said” and your episode of “Sons of Anarchy?”

The biggest difference was money. “Things Never Said”, all in, cost $300k shot over 20 days and Sons of Anarchy was shot in seven for a few million. The budgetary constrictions of the film became the time constrictions of the episode. But talking to actors and dealing with camera and crew is the same no matter how you slice it if you’re trying to do quality work.


Can you talk to me about the process of directing an episode of Sons of Anarchy, what does the director’s prep entail?

Prep is making sure every fine detail that’s in a script is brought to life as close to how your writer or show runner envisions it. So, prep has to be thorough. You don’t want to end up on set wondering where a prop is, or why costumes don’t have the appropriate shirt. Each meeting is probably enough to make you say, “I’m gonna go home and take a nap” after each, but you get into the rhythm and before you know it, it’s time to shoot.

You are also a writer on the show, what was like to transition from the writers’ room to the director’s chair?

I’ve always felt directing was a natural extension of writing. If you were to read a script out loud and guide people around you’d be directing, so it never felt like something that was foreign to me. The biggest difference I guess would be that this is the first thing I directed I didn’t write.


Finally, What was your favorite scene to direct in “The Separation of Crows”?

Favorite? Each one was special because it was my first episode, ya know? All of the actors/actresses gave their best and I was able to direct as a fan, watching each take unfold. The fan boy in me has this to say though, I’ve been wanting to work with Jimmy Smits since he was Victor Sifuentes on LA LAW — ’cause I LOVE Jimmy Smits. And that came true with this episode. So, I’m happy.


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By at 8:35 pm

Last night’s episode was bananas, it seemed like a heart attack waiting to happen after every scene. Abel hearing Gemma! Juice in jail! And BOBBY! R.I.P. Bobby’s Right Eye.

I recently sat down with our staff writer, Gladys Rodriguez and our script coordinator, Josh Botana to discuss the Greensleeves episode that they co- wrote with Kurt Sutter.


A lot of us aren’t familiar with how a writing room operates can you talk to me about the process of breaking the story of 707 from concept to script?

Gladys: Breaking 707 was like every other episode. We usually know what tent poles we need to hit in the episode and put those up on the white board first. Loose beats. Our lovely whiteboard writer, Co-Producer Roberto Patino (who has the penmanship of a feminine serial killer), will jot down the “beats” (scene ideas) that we throw at him.

In the early breaking of the episode, we’ll do columns for our A, B, and C stories. We pitch on what we call the “action engine” first, which is always the main action that drives the A story. Originally for 707, we had a whole thing with the East Dub Crew and burying them in cement that eventually changed into Greensleeves and Winsome for the action engine.

Then for the B story, it’s usually the Gemma story. We knew we wanted the confession to Thomas to happen in this episode and it was gonna be a big pivotal turning point of the season, so we started with that and worked our way forward. Then the C story is all Juice. Although in 707, we combined some of it with the A story in the beginning with the Jax/Juice scene. Kurt comes in throughout the week and we’ll pitch our A/B/C beats. He’ll give us his thoughts and then we’ll adjust based on what notes he has. Once he’s approved the stories (usually takes about a week or so), we’re ready to ‘blend’ the story beats, meaning putting the scenes in order. We’ll order the story, pitch multiple scenarios all day long for a day or so, then once we have it, our Writers’ Assistant, John Barcheski, will type it all up and send it to us. We pitch it to Kurt the next day, he gives notes, we’ll adjust, and then from that we write the beat sheet and are off on script.

Josh and I decided to split it evenly by story. He wrote the teaser and the majority of the A story, I wrote the B and C story, and a scene or two of the A, and ending montage. After a couple weeks, we hand it in to the room for notes. They give us their notes and we do another draft. Then it gets turned into Kurt who will do his pass. Voilà, 707 is cooked.
And Josh I heard this was your first television script. How does it feel to have your very first script air on television?


Josh: I’m elated. I just feel honored and grateful that Kurt gave me the opportunity to write on the show. It’s literally a dream come true. From the breaking to the writing, the process exceeded almost all of my expectation.

What was the experience like sitting in the writers’ room as a writer for the first time?

Josh: It was intimidating to say the least. This show is stacked with writing talent, it’s like a murder’s row of TV drama. It was hard trying to keep up at first, but they were all so nurturing and supportive that by the end of my tenure they had made me better. I’m so thankful that I had this room on my first script.


Gladys, you’ve been on the show since season 2, what was has been your most memorable experience thus far?

Gladys: In Season 3, I took over writing this very production blog (Samcro Blogger!) and got the once in a lifetime opportunity to interview Stephen King, one of my favorite writers. I was a nervous wreck. I went to set to where we shot Gemma’s dad’s house and met Mr. King’s manager, Rand, who I had been emailing with. We had to wait a bit because he was shooting the scene where he pulls up in his red Harley as Bachman. Then in between scenes, Rand introduces me and I think I made a fool of myself when I blurted out how much his book On Writing meant to me. Mr. King was so gracious and easygoing and cool and just how you want your celebrity idol to be. We did the interview and after my videographer calls cut, he says “Oh shit, I didn’t hit record.” I look at him with murder in my eyes, ready to call DL over to handle him. Then he starts laughing, only kidding. I almost punched him in the throat but Mr. King kept his cool, even laughed about it saying it wouldn’t be the first time that’s happened. So I’d have to say this was my most memorable moment.

What was favorite scene that you wrote in 707?

Gladys: The Gemma confession scene. I loved writing her, especially this season. She’s such a complex mess with a huge secret that’s suffocating her and having her finally break down was SO MUCH FUN to write. She trusts no one at this point and thinks Jax is going to kill her and needs so badly to unburden herself and apologize to her grandson about what she did. It’s the first time this season we’ve seen her really crack. She thinks she’s saying goodbye.

I think it may have changed in the final version, but my favorite line I wrote was the end of that scene:


..I never meant to hurt her, baby.
I’m sorry she’s in heaven… I’m
sorry grandma killed mommy.

Because that’s some FUCKED UP SHIT!
Josh: The scene where Abel overhears Gemma’s secret, which Gladys wrote, was so well done. I love it, it’s very powerful. She’s a super talented writer. Of my scenes, I’m really proud of the Juice story line. The teaser open where the club is at JT’s memorial was an honor to write, it has so much club tradition and history built into it, and I was really just trying not to fuck it up. I’m really proud of this episode and so happy that I was afforded the opportunity to write it with this amazing staff. Thank you Kurt Sutter, Peter Elkoff, Charles Murrray, Kem Nunn, Mike Daniels, Roberto Patino, Gladys Rodriguez, John Barcheski, Katie Curtright and Alex Eldridge. You guys are the best!




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By at 5:22 pm


Describe to me the editing process from day one of filming right up to the airdate.

Doc: We get the footage the day after it’s shot. So if I’m editing an episode that starts filming on a Monday, by Tuesday afternoon I’m already watching that material and starting to put it together. For each scene, there are many different set-ups (camera angles, such as a wide shot, a medium shot or a close-up) and many takes (multiple versions of each set-up).
My job is to take all of these pieces and put them together in the best way to tell the story. The editorial style is Sons is very invisible– we don’t ever want viewers to be thinking about the editing, we just want them to be engrossed in the story and present with the characters. As an editor, the starting place is making a scene that was shot over the course of a few hours with those multiple set-ups and takes feel like you are watching it play out in real time as a bystander. If the viewer is engaged and the editing is well done, something that took 4 hours to shoot will feel like we are watching it unfold in real-time over the course of 2 or 3 minutes. From there you can push or pull certain moments for emphasis and experiment with different ways to tell part of the story. For example, in 706, the scene in Diosa when Alvarez comes in and tells Nero he has to come with him, at any given time, you could be on Alvarez’s face or Nero’s. The fun in putting that scene together was the history between these two characters and playing with how much trust they have with each other at this moment. By staying on Nero a little longer to get an extra cautionary glance, or by going to Alvarez for a beat when he is deciding whether or not to believe Nero, you can build the tension between these two guys. Then when Alvarez puts Nero in the closet, as a viewer, you aren’t sure what’s next.

706_2After an episode is finished shooting, I have a couple of days to continue working on the show by myself. Then the director comes and we work together for 4 days. After that, Kurt and Craig Yahata come in and we work on the show until it’s ready to go to the studio and network for feedback. Sometimes early on you get a version of a scene that is working and it remains largely unchanged throughout this process, while other times you have many different versions of the same scene until you get one that feels right.

Once we get to a point where the show is “picture locked,” meaning the images aren’t going to change, the good people at our post production house Modern start color correcting the final picture, while simultaneously the post production sound dept. at Smart Sound takes the audio of the show and gives it a proper edit and mix. Ultimately, the picture and the sound are married back together at the end and that is what goes on the air.

That’s a very truncated version, but that’s how an episode goes from being shot to being on the air.


In the scene between Gemma and Gertie, how do you edit the overall emotional tone to get the point across?

Doc: Both actors absolutely nailed these scenes and really made my job easy. When the performances are this good, the last thing you want is to get in the way with the editing. My approach was to just cut it in a very naturalistic, unobtrusive way. My favorite moment of the scene is when Gemma says “My son lost his wife recently. We were close.” It’s such a big moment and it’s so messed up because Gemma was the one who shoved a fork in Tara’s head! As far as editing, it was a conscious decision to use the close-up of Gemma for the first time at this moment. Until that point of the scene, you are watching from side shots that have both actors in it. Going to the close up for the first time there really showcases Katey’s performance and punches you in the gut as a viewer with all of that emotion.

The action sequence in episode 706 was pretty intense with the take down of the East Dub crew, how do keep the scene moving and keep the audience on the edge of their seat?

Doc: By this point, we know the MC and Bastards mean business, so there is a built in danger to the chase that is a great starting point. Also, anytime you have bikes, cars and guns, it makes things a little more exciting. With this scene, we were building up to the quiet, tense moment before Dulane gets shot, so it made sense to juxtapose that with the loud, fast, intense chase leading up to it.
With action sequences, there are so many moving parts and moving pieces. I start by cutting a version that simply doesn’t confuse me. We talk about “geography” a lot as it relates to action sequences. The key geography of this action sequence was making sure it was clear that East Dub got boxed in by the MC, the Bastards and the Mayans. Guy Ferland, the director, got this great shot through the windshield of Dulane’s car that really tells the story. You see the car’s hood and you see a line of bikes blocking his way. Then you pop out wide overhead to get the full lay of the land and see that entire direction is blocked. Then you cut back behind and see the MC come in to block the other direction.

Once all the guys are stopped, there’s this great quiet intensity. It was fun to linger in that a bit before all of a sudden T.O. executes Dulane. Then another quiet moment with Jax before he orders the firing on the rest of the guys. Jax is so detached about it– it’s so unsettling and great.

I hear you have a sidekick, how does she help your editing process?

Doc: I do have a sidekick– my dog Zoë frequents the office and sports a Sons of Anarchy dog collar. She keeps the mood light, even when spending hours and hours putting together these intense scenes. When I first started bringing her, she’d get excited when she’d hear motorcycle sounds because she likes to try to chase motorcycles in real life, but she’s since learned that the motorcycle sounds in my office don’t mean there’s an actual motorcycle somewhere.

What was your most exciting editing experience on Sons of Anarchy?

Doc: It was such an incredible experience to come into Sons of Anarchy as a fan first (I started working on the show at the beginning of Season 6). It’s a remarkable group of people in front of and behind the camera who make this show what it is and it’s such a privilege to have an inside view of how it all comes together.


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By at 5:24 am

That was quite an episode last night. I still can’t get over the last scene with Gemma and Juice on the deserted road and all the run-ins with the club? What is going to happen to Gemma and Juice??!?!

One of the things I’ve really been impressed with throughout the years is the locations. I recently sat down with our locations manager, Dan Cooley, to discuss how he found the locations in last night’s episode.

Describe to me your process once you got the script for 705?

Dan Cooley: 705 was the first of 3 episodes Directed by the incomparable Dr. Peter Weller and “dead or alive” we were coming with him on yet another entertaining ride. Executive Producer, Paris Barclay affectionately refers to the scripts as the “book of words,” so in lieu of having one until the end of prep we would have to work off of a synopsis. Imagine playing Speed-Chess blindfolded or a game of Jenga with early on set Parkinson’s… it was shaky at best but spirit of the show and the fraternal brotherhood of what the audience sees on screen every week has found it’s way into our scout van. Instead of falling apart or breaking down when our backs are against the wall, we band together from the Producers, Director, Location Manager, Production Designer, 1st AD, Van Driver, Cast, and Crew to put the best product on TV each and every week.


It all starts with scouting a few different options (quality over quantity) for each location scripted. The aforementioned folks load into a Scout Van together and hit the road to weigh in on what locations work best for creative look, story, schedule, cost, and logistics before making our selections. Then what we’ve selected gets sent to Kurt for final approval. Once approved, we organize a Technical Scout for all of the heads of the departments (25-30 people) to see those locations before we arrive to film them so we discuss everything from how we intend to maim and murder certain characters or simply where we will park our trucks and stage our gear. Then the Locations Department negotiates the contracts to pay each location, obtain all the necessary City and/or County approvals through permits, and most importantly find a place to park close to the nearest bathroom.

How hard was it to find the seedy motel that Juice was staying in? Did you look at several locations?

Dan Cooley: Finding the seedy Motel that Juice was staying in was not a tough find as they are a plethora of them in the Valley close to our Stage. We look at 3 options but almost instantly selected the Ritz in North Hollywood because of its amazing signage. The first scene we would shoot there was at night and the vibrant colors of their sign was so perfect we barely had to do a thing to instance it’s beauty.



In the script Juice and Gemma are driving in the middle of nowhere, which seems like a hard location to find in Southern California, how do you find the right look for that?

Dan Cooley: The Juice and Gemma Road was a tougher find because finding desolate roads we can have full control in such a populated area like South California can be challenging at best but we shoot so many roads that we have found a few tricks along the way like traveling into canyon on the outskirts of state parks which close at dark. This enables to have the control need to shoot such intense scenes.





What has been your favorite location that you have found that really highlights the world of Sons of Anarchy?

Dan Cooley: My favorite location is anywhere we find good people. Locations are a specialized department where we often find ourselves in parts of town that people who lived in those areas their whole lives don’t venture into for better or worse. But it is the people we meet along the way that make Location Managing the experience that it is for better or worse but I wouldn’t have it any other way. I love my job and all of the challenges that come with it and I love working on SOA because we truly have the best crew in the business.


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By at 11:05 pm

How are you all doing out there? What a crazy episode. I still can’t believe Scoops and Sweets is gone. I was just getting used to it and now Diosa is all shot up with dead escorts?! Colette Jane dead?! Ugh. How will they recover from this? It seems like every corner they turned another crazy outcome happened.


A photo of the aftermath, courtesy of our Set Dec Team.

It seems crazy to think that the show is winding down and we will be wrapping the series forever. On Friday of last week, Kurt Sutter hosted a crew appreciation day where the cast and crew gathered to eat some fabulous food and prizes were auctioned off. It was a wonderful time for us to all get together and enjoy the fruits of our labor. It was also bittersweet as it was the last one ever! I can only hope I get to work with all these incredible people again, and I wanted to share some pictures of the event below so you can get a taste of how great it truly is to work on this show.


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