Behind the scenes of ‘Winning Time’: Capturing the Lakers-Celtics rivalry
The second season of HBO’s “Winning Time: The Rise of the Lakers Dynasty” delves deeper into the intense rivalry between the Los Angeles Lakers and the Boston Celtics as they vie for NBA championships. For Emmy-nominated cinematographer Todd Banhazl, ASC, the challenge was not just about filming the playoffs but also about capturing the raw emotion within the game.
The challenge of dynamic storytelling
Banhazl faced a significant challenge: How could the cameras keep up with the fast-paced action to tell this compelling story? “A lot of it became about what camera devices can keep up and stay close to the actors,” he explained. “When we’re inside the huddles, it’s a lot of handhelds, a lot of smaller cameras so we can actually be with them.”
The rollerblade camera: A game-changer
One of Banhazl’s innovative solutions was the rollerblade camera, operated by John Lake. Equipped with a backpack rig and a 16mm camera, Lake could glide around the court, capturing the action from within. “It’s a way for him to be in the game and fly around,” Banhazl noted. This technique allowed the footage to feel more visceral and authentic, almost like archival footage.
A dance of cameras and actors
The rollerblade camera’s integration into the scenes was akin to a dance. “We started doing these magic switches where we could be rollerblading with our actors and then we could spin around,” Banhazl said. This seamless movement allowed for dynamic shots, such as transitioning from a player’s dunk back to an actor’s face, enhancing the immersive experience.
Crafting the narrative through movement
Another challenge was depicting the teams’ journey across the season while maintaining the focus on their rivalry. Banhazl and director Salli Richardson brainstormed how to visually represent this. “She said, ‘I don’t know exactly what it looks like yet, but it’s like we’re spinning with them and they’re almost playing with each other,’” Banhazl recalled. This led to the idea of showing the players passing and shooting as if they were interacting across different games.
Framing Larry Bird: A Western approach
Banhazl chose to frame Larry Bird with a Western film aesthetic. “There’s a lot of mythos about who Larry Bird was and where he came from. So the idea was to film him like our big Western bad guy, but at the same time emotionally connect with him,” he explained. This involved using low-angle, wide push-ins to create a larger-than-life presence.
Equal footing for Bird and Magic
As the playoffs approached, the focus shifted to portraying both Bird and Magic Johnson as equals. “Both men deserved to win and they were the only people that could equal each other,” Banhazl said. This meant using tight eyelines and treating their interactions as if they were photographically playing with each other as equals.
Capturing Magic Johnson’s charisma
For Magic Johnson, Banhazl aimed to highlight his superstar status and charisma. “There was a joy in the camera buying into all the bravado that Magic had,” he said. This involved using flashy camera techniques, such as big crane shots and long lens shots, to contrast his cocky persona with his more vulnerable moments.
The role of technology in rehearsals
Banhazl and Richardson relied on their iPhones during rehearsals to identify and resolve issues. “We iPhoned it very carefully and then actually edited it on an iPhone to make sure that all the hidden cut points would work as glue,” Banhazl revealed. This meticulous approach ensured the seamless flow of the scenes.
Lighting and atmosphere
Lighting played a crucial role in differentiating the venues. The basketball scenes were shot on a single 360 green screen stage with LED lighting from above to replicate the old, brutal stadium lighting. “The forum was like a showtime white light, almost like a stage production or a rock and roll show. And then the Celtics’ Garden was this pissy amber orange,” Banhazl described. This contrast highlighted the distinct atmospheres of the two arenas.
A mix of film formats
“Winning Time” was shot on Panavision 35mm cameras using Primo lenses, but Banhazl also incorporated 16mm and even 8mm formats to enhance the archival feel. “It was about making it feel like footage found in a little bin labeled ‘Lakers 1985’ that had been forgotten about for 40 years,” he said.
Explore more
For those interested in diving deeper into the world of “Winning Time,” check out the trailer and explore the series further. This behind-the-scenes look offers a glimpse into the innovative techniques and creative decisions that bring the Lakers-Celtics rivalry to life on screen.