We chat with WinningTime cinematographer Todd Banhazl about shooting on vintage cameras and the challenges of filming the basketball scenes in season 2 of the HBO series:
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT In Winning Time: The Rise of the Lakers Dynasty season 1, the Lakers won the 1979–1980 season, which began their rise to greatness. Season 2 will further explore this team as it continues to make a name for itself, with the Lakers facing countless challenges both on and off the court.
And then also phasing out the eight-millimeter archival footage, and phasing in this hybrid 16-millimeter look that we hadn't used in the first season. So the aesthetics of the show, all the different formats of the show were always based on the dominant looks of advertising and television at that time. So that's where we pulled from for the '80s.
Build how much of the villain Bird is, and at the same time humanize him, and make it so that by the time you get to the playoffs, you actually, I hope, empathize with both characters. You know both their families, you know both their backstories. So I think it was all about setting up this final battle scene. I mean, you mentioned Star Wars, but for me, also, it had a lot to do with The Two Towers, the second movie in the Lord of the Rings.
Todd Banhazl: For the audience, we knew that the opening scene of Season 2 was going to be deep in the '80s and the middle of playoffs. So we were just going to hit the audience immediately with what the characters look like now, the fact that Riley is now the coach and he's got his hair back. So we wanted to match that with the films with the format. So the opening scene has the VHS, has the new form of 16-millimeter. 8-millimeter has been phased out.
Todd Banhazl: I think one of the things is the basketball. We started looking at how the cameras started developing from where the TV cameras were during the games in the late '70s to where they were in the mid-'80s. So we started charting and adding those different camera positions as the years went on. So it introduced a whole bunch of new dorky and unimpressive shots by today's sports standards, but at the time, really impressive.
Todd Banhazl: Yeah, I mean, that all comes down to shooting basketball is difficult, just on a kinetic, physical level, but we figured it out. The real challenge is what you're saying, is making it specific and emotional, and that you understand not only what's happening in the game, but what's happening between the characters.
Todd Banhazl: Yeah, basically, we were looking for a way to get the camera to be able to move at the pace of NBA Showtime-level basketball, but also be physically with the characters so that we could be in their experience of the game. And there's all kinds of traditional tools that can do this kind of stuff.
Todd Banhazl: Yeah. That came from just months of testing before Season 1 of different ways to shoot basketball. I mean, we tried all the things. We tried basketball rigs, where you connected the ball, things like that. And things worked, but nothing had the emotional ferocity of when we discovered the rollerblade operator and what John could do. So I think by the end of Season 1, we knew how to use him and we knew what he could do.
So a lot of the lighting was done in a way to bring out as much shine and oil and humanity in the characters. Because I think the show has so much bravado and ego visually, and I think the characters have so much bravado, it was really important to make sure that we could break that down and still see them as kind of beautiful human beings. So that's lighting for me. It's breaking down that gloss.
Can you talk about balancing and capturing the intense basketball action while also maintaining focus on the characters and their stories? The way that you guys really build up the Celtics this season, it does feel like it's a genuine prize fight at the end of the season. Can you talk about working, I guess, well, not with the Boston Celtics, but on the Boston Celtics team, and building them up and the look you guys used to capture them and using the Boston Garden?
Absolutely. Can you discuss any memorable or standout moments from your experience working on Season 2? When you're breaking down scripts, do you know which technique you are going to use ahead of time, or is that something that-
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