Is there anything else to uncover about “The Sopranos?”

The acclaimed six-season mob series from HBO, which ended in 2007 amidst mixed reactions, has been extensively analyzed through books, interviews, and podcasts over the past 25 years. When HBO reached out to filmmaker Alex Gibney (“Taxi to the Dark Side”) to create a documentary, he chose to focus on the series’ calm creator, David Chase.

“I felt that the full story had never been conveyed properly,” Gibney explains. “My aim was to offer a combination of David Chase’s origins and the narrative of ‘The Sopranos.’”

The outcome is “Wise Guy,” debuting Saturday at 8 EDT/PDT on HBO and streaming on Max. This three-hour documentary includes interviews with the cast and crew along with new behind-the-scenes footage. The film kicks off with a spot-on reproduction of Dr. Jennifer Melfi’s therapy office (played by Lorraine Bracco), who navigated sessions with mob boss Tony Soprano (James Gandolfini) throughout the acclaimed drama that won 21 Emmys. In a detailed discussion with Gibney, Chase shares how his background influenced the show and his original concept for “The Sopranos” as a feature film.

“The opportunity to collaborate with Alex as a director was what thrilled me,” notes Chase, 79. “Initially, it felt strange to talk so much about myself, but,” he laughs, “I eventually got into it.”

‘The Sopranos’ documentary unveils the complexities of David Chase and James Gandolfini

“Wise Guy” does not shy away from addressing some of the more uncomfortable elements surrounding the show’s creation. The documentary portrays Chase as a demanding leader, dismissing multiple writers after disagreements in his pursuit of complete creative authority.

“I believed I was producing a series, and sometimes a man must do what is necessary,” Chase states. However, as he viewed the film, “I realized that I might come across as tougher and more difficult than I pictured; perhaps I have a mean side.”

A sizable portion of the documentary also focuses on Gandolfini, who battled drug and alcohol issues as “Sopranos” gained immense fame. It reveals that he often missed work, leading network executives to dock his salary and attempt an intervention. He passed away from a heart attack in 2013, six years post the show’s conclusion, at the age of 51.

Gibney mentions he constantly modified how much to reveal about Gandolfini’s struggles during the editing process. He chose not to consult Gandolfini’s family regarding the inclusion of footage from his funeral: “I kept the editing process mostly private, even from David, until we reached the very end.”

However, the documentary also includes lighter moments. An early segment showcases newly discovered audition tapes featuring future stars like Michael Imperioli, Drea de Matteo, and Steven Van Zandt, alongside Gandolfini and other actors who auditioned for the role of Tony but were not cast.

Chase recalls being surprised by Van Zandt, a member of Bruce Springsteen’s E Street Band: “When he auditioned, he exceeded my expectations and had done significant preparation. I wasn’t aware of his keen interest in mob history.” Though Chase considered Van Zandt for the role of Tony, he ultimately decided to create a distinct character for him as Tony’s advisor, Silvio Dante.

In the documentary “Wise Guy,” Chase delves into several key moments from the drama, such as Adriana’s emotional farewell and the much-discussed final scene. However, he acknowledges some topics were left out: During a phone call, he praises Season 5 guest star Annette Bening, who plays an important role in Tony’s mind. (“We found out she was a fan of the show, and she was the ideal fit,” Chase remarks on her casting. “It was a nice surprise we managed to get her.”) He recalls small yet significant performances from then-unknown talents like Lady Gaga, Lin-Manuel Miranda, and Michael B. Jordan, all of whom made brief appearances in the series.

Chase also defends the peculiar Columbus Day episode from Season 4, which many fans and critics consider to be the weakest of the series. “I think it received a fair evaluation,” Chase explains. “And the more it upset people, the more I enjoyed it!”

Chase reflects on errors in the prequel film ‘Many Saints of Newark’

“Wise Guy” highlights how shows like “Sex and the City” and “The Sopranos” played critical roles in HBO’s transformation from a standard movie channel into a leading name in prestige television. With its dreamlike sequences and deep character exploration, “Sopranos” redefined the expectations of the action-packed gangster genre.

Chase doubts such a series could be produced now: “Today’s networks wouldn’t take a risk on something like ‘Anne of Green Gables,’” he comments. “It’s simply not happening. I feel fortunate that HBO was ready to embrace change and create some controversy.”

Initially, Chase was hesitant to consider a “Sopranos” film, wishing for the show’s legacy to remain intact. Eventually, in 2021, he agreed to produce “The Many Saints of Newark,” a prequel focusing on Christopher’s mob boss father, Dickie Moltisanti (Alessandro Nivola). James Gandolfini’s son, Michael, portrayed a young Tony in this film, which garnered mediocre reviews yet struggled at the box office.

“I made some errors in the initial planning stages and while writing,” Chase confesses. “But the biggest issue arose from how the marketing team approached it. The intention was never to develop Tony Soprano’s origin story – it was primarily a narrative about Dickie Moltisanti. We aimed to craft a gangster film, not to tell the backstory of this kid. Naturally, fans who came to see it felt deceived, as it didn’t align with what the studio promoted it to be.

“It never really recovered from that misrepresentation, or deception, or however you want to frame it,” he adds. “I’ve read comments asserting that it was all about making money for me, but that’s not true at all.”

Although Chase had once expressed interest in another prequel that would follow Tony in his 20s, he now wishes to move away from that project. He is currently working on two different film scripts that he hopes to get financed and cast.

“Right now, I simply want to create movies, not TV shows,” Chase states. “I’ve collaborated with incredibly talented individuals, but I’m getting older, and I really aim to focus on films, which presents its own challenges in securing production.”

The enduring popularity of “Sopranos,” now attracting a fresh wave of Gen Z fans, is something Chase finds “miraculous.” “As someone working in show business, I couldn’t ask for more,” he remarks. While he wishes he could decipher the show’s formula for success, he also understands that it’s difficult to replicate such magic.

“Aside from ‘The Godfather 2,’ many sequels and prequels fail because you’re attempting to replicate a mystique,” Chase elaborates. “It’s a challenging endeavor to recreate.”