Unveiling the Magic: Vintage Film Cameras and Thrilling Basketball Moments in Season 2 with Cinematographer Todd Banhazl

Summary

Winning Time season 2 visually transitions from the 70s to the 80s, and cinematographer Todd Banhazl uses different camera formats to capture the changing times and styles.

The show highlights the ebb and flow of power along with the intense competition between the Lakers and Celtics, prominently featuring Magic Johnson and Larry Bird. The characters' visual presentation effectively captures their contrasting public and private personas, offering glimpses into their vulnerability and boldness.

The Lakers' journey to greatness began in the 1979-1980 season as depicted in Season 1 of Winning Time: The Rise of the Lakers Dynasty. Season 2 delves further into the team's quest for recognition, showcasing the challenges faced on and off the court. The intense rivalry between the Lakers and Celtics takes center stage, with Magic Johnson and Larry Bird leading their respective teams in the battle for the championship trophy.

Inspired by the Jeff Pearlman book Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s, Winning Time has been developed into a series by Max Borenstein and Jim Hecht. The stellar cast for Winning Time includes renowned actors John C. Reilly, Quincy Isaiah, Jason Clarke, Adrien Brody, Gaby Hoffmann, Tracy Letts, Jason Segel, Solomon Hughes, and Tamera Tomakili.

Todd Banhazl Talks Winning Time Season 2

Screen Rant recently had the opportunity to chat with cinematographer Todd Banhazl regarding the second season of the hit series, Winning Time. During the conversation, Banhazl shed light on his creative approach to capturing the essence of the 1980s era by utilizing vintage cameras. Additionally, he delved into the complexities of filming the basketball scenes without losing focus on the characters and their individual storylines. It is imperative to acknowledge that this article was crafted amidst the 2023 WGA and SAG-AFTRA strikes, and without the unwavering dedication of the writers and actors within both unions, the remarkable show being discussed would not have come to fruition.

Screen Rant: Winning Time is undeniably my ultimate television obsession. With great eagerness, I awaited the arrival of Season 2, having found the previous season to be extraordinary. The current installment surpasses all expectations, akin to the impactful nature of The Empire Strikes Back within the realm of basketball.

Todd Banhazl: Wow, that reference is absolutely brilliant!

The way the first season concludes and the subsequent developments in this season truly remind me of The Empire Strikes Back. Could you please share your insights on the visual transformation of the Lakers from the 70s to the 80s?

The show's departments discussed how to transition the tongue-in-cheek, sarcastic visual style from the '70s to the '80s. As the season progresses, the formats gradually shift to reflect the materialistic nature of the '80s. The show begins to use small consumer VHS cameras instead of the '70s tube cameras, and the archival footage is replaced with a hybrid 16-millimeter look not seen in the first season. The aesthetics of the show are based on the popular looks of advertising and television during that time. For the '80s, the team looked at what people were using in the late '70s and mid-'80s to film their home videos, which led to the transition to VHS and VHS-C formats.

The occurrence of this phenomenon is evident in every department. We were discussing the type of environments the characters would be situated in with the production designer, as well as the color schemes and lighting effects. This also applies to the wardrobe, and how the costumes would evolve in conjunction with the format, production design, and wardrobe. Additionally, this can be observed in the makeup and hairstyles, as the actors - especially the lead stars - begin to resemble Magic and Kareem during their peak fame, with their distinctive haircuts, mustaches, and goatees.

Are you truly using VHS cameras for filming?

Todd Banhazl revealed that the primary aesthetic of the project features the usage of 35-millimeter and 16-millimeter film. However, during Season 1, a significant portion of the footage was captured using eight-millimeter film or vintage '70s tube cameras, particularly for basketball games and certain scenes. Surprisingly, in Season 2, they began employing small VHS consumer camcorders for shooting, which I initially believed was solely accomplished during post-production.

Todd Banhazl: Yeah, no, it's all the real formats. There's no faking any of it. Yeah.

What were the main visual motifs and themes you wanted to highlight this season?

Todd Banhazl: It's fascinating. A significant aspect revolves around the dynamics and fluctuations of power within a dynasty. Therefore, a significant part of our focus was on capturing the essence of Magic, the Lakers, and the Celtics through photography. Our aim was to portray them as formidable giants, both in their visual impact and the themes they embody. Additionally, we dedicated considerable effort this year to intensifying the rivalry between Bird and Magic.

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Develop Bird's character, balancing both his villainous traits and his humanity, with the aim of evoking empathy for both him and the protagonist by the time the playoffs arrive. Familiarize the audience with their respective families and backstories to establish the groundwork for the final battle scene. Drawing a parallel to Star Wars, similar to The Two Towers in The Lord of the Rings, the first film sets up the narrative while the second builds up to the climactic battle.

The current season delves deeper into Larry Bird's past and sheds light on his complex relationship with Red Auerbach. The discomfort experienced by both Magic and Dr. Jerry Buss is a prominent theme throughout. How can we visually highlight this unease?

Todd Banhazl: Yes, I believe one of the main reasons for the mixed formats is to portray the characters' bravado and power using 35-millimeter film. It allows us to showcase their attempts to possess these qualities and the confidence they exude. However, we also utilize 16-millimeter film, VHSs, and Ikegami tube cameras to present the characters in a more vulnerable and human way. This creates a constant shift between their public personas and their private, more vulnerable sides throughout each scene.

Regarding the new theme of immersing everyone in the '80s, I worked closely with the director and the rest of the creative team to shape the show visually for the viewers. We collaborated on ensuring all departments incorporated elements from the '80s to enhance the overall aesthetic and create an authentic experience for the audience.

In Season 2, we wanted to immediately immerse the audience in the '80s and the playoffs. The opening scene showcases the characters' new appearances, particularly Riley as the coach with his hair restored. To enhance this visual transformation, we chose to align the scene with the style of films from that era, using VHS and the new 16-millimeter format, while phasing out the use of 8-millimeter. Through the use of makeup, costumes, production design, colors, and formats, we effectively transport the viewers from the '70s to the '80s. After the opening titles, the show returns to 1980, gradually progressing towards the end of the season.

In terms of collaborating, our approach for Season 2 stemmed from numerous tests and a thorough review of our work in Season 1. We determined that starting Season 2 with the same energy and style as Season 1 was crucial. However, we also aimed to enhance and elevate various elements, such as the glamour, power, and financial aspects. This involved improving the visual aspects, including costumes, color schemes, hairstyles, and production design. Overall, Season 1 provided us with invaluable lessons, serving as the foundation upon which we built Season 2.

Absolutely. What research and preparation did you undertake to accurately portray the time period and setting of the show? Additionally, what fascinating and surprising aspects did you discover about the equipment used during that time to achieve the desired look for Season 2?

In terms of research, we focused on the evolution of TV cameras from the late '70s to the mid-'80s, particularly during basketball games. We tracked and documented the different camera positions that emerged over the years. This included innovative shots that might seem unimpressive by today's standards but were groundbreaking at that time. For example, placing a camera above the net and behind the backboard with the ability to move. These new positions opened up new perspectives for capturing the game. We made sure to incorporate these discoveries into our work.

As the games and the season progress, new elements are introduced. It was surprising to see how they improved the television broadcast of these games over time. We made sure to follow that improvement in our own production. The preparation process for Season 2 was similar to Season 1, involving extensive research and the use of archival materials such as photos and footage of the games and public figures. We especially focused on how things changed in the '80s. Our goal was to avoid making Season 2 appear overly stylized like a music video or cartoon representation of the '80s.

Being set in Los Angeles, Winning Time naturally has a flashy visual style. However, we were careful to maintain a sense of realism. This was achieved through the skill of our collaborators, including Emma Potter, the costume designer, and Rich Toyon, the production designer. They grounded the show in a way that allowed for bold visual choices while still giving it a semi-documentary feel, as intended.

You all excel at immersing me into the story, particularly in the moments when the characters are on the court playing. You capture the essence of the magic that the 1980s Lakers had. Can you discuss the specific challenges and limitations you encountered while working on Winning Time season 2?

Todd Banhazl: Absolutely, shooting basketball scenes presents its own difficulties on a physical and kinetic level, but we have managed to overcome them. The real challenge lies in ensuring that the scenes are specific and evoke emotional responses, allowing the audience to grasp not only the game's events but also the dynamics between the characters. In Season 2, we were able to accomplish this by positioning and moving the camera in a way that truly connects us to Magic's perspective, as well as his interactions with Bird and vice versa.

The true success of Season 2 of basketball, especially in the later episodes, lies in the emotional understanding of the relationship between Magic and Bird. Ensuring that the camera consistently moves between them is crucial. In Episode 6, there is a sequence where the camera literally follows them. Both teams progress through the playoffs, and there is a one-and-a-half-minute continuous shot that shows the ball being passed from the Lakers to Larry Bird's team in the Garden, and back and forth.

As the two teams continue to win and advance, they are emotionally playing against each other. The goal was to capture this visually. A key factor in achieving this was our rollerblade operator, John Lyke. We utilized his skills in a more advanced manner this year, specifically within the games and plays.

I actually wanted to bring that up for a second, because I talked to a few of the other creatives earlier. Can you explain what the rollerblade operator does?

Todd Banhazl: Our goal was to capture the fast-paced action of NBA Showtime-level basketball while also immersing the audience in the players' experience. Traditional tools like steady cams, handheld cameras, and cranes were insufficient as they couldn't keep up with the players and move freely in three-dimensional space.

To overcome this challenge, we enlisted the expertise of John Lyke, an incredibly talented rollerblade operator. Equipped with a handheld 16-millimeter camera and a small backpack, John became an integral part of our team, rehearsing and building plays just like another player.

And we would dedicate our time to rehearsing and constructing these plays with him, incorporating his movements. We would begin by starting at a certain point, moving up the court, then he would perform a 360 spin. After receiving the pass, he would make another pass to the next player, and finally, he would swoop around the net for an impressive slam dunk. It was as if we were carefully crafting his role. Suddenly, our pace and confidence aligned with the exciting style of Showtime basketball.

How did you come up with that technique? Did you conduct numerous experiments in Season 1 to refine it for Season 2?

Todd Banhazl: Yeah. After months of testing various basketball shooting techniques prior to Season 1, we explored numerous options including basketball rigs and other methods. While some of these methods yielded positive results, none of them captured the intense emotion like when we stumbled upon the rollerblade operator and witnessed John's incredible skills. By the end of Season 1, we had mastered the art of utilizing him and understood his potential. Season 2 was all about pushing the boundaries and unleashing his talent to its fullest extent.

When the concept of doing a show about the Lakers first came up, did you anticipate the specific shooting style or did you know from the start that it would involve a blend of documentary and different cameras? Was that always a consideration?

Todd Banhazl: From the moment I first read the pilot script and had my initial conversation with Adam McKay, it was clear that we both had been considering mixed formats. We both agreed that the script called for a maximalist approach, encompassing elements of documentary and archival footage, as well as a loud and cinematic feel. Our mutual understanding led us to the decision of incorporating mixed formats. We then delved into researching and utilizing the actual formats and cameras that captured the various events portrayed in the show, including basketball games and news coverage. This sparked our exploration of different formats, taking us down a rabbit hole of testing and experimentation.

Can you discuss the role of lighting and color in shaping the atmosphere and mood of the show?

Todd Banhazl: Absolutely. In terms of lighting, I strive to achieve a sense of authenticity by focusing on illuminating the spaces rather than the characters themselves, which adds to the documentary-like ambience of the show. However, what goes a step further for me is how I approach skin tone. I believe that the portrayal of skin and its reflective qualities holds great significance in this show. It not only ties into the themes being explored, such as race and capitalism, but also highlights the interaction between these two aspects.

So a significant amount of the lighting was strategically utilized to enhance the radiance, sheen, and genuine essence of the characters. Considering the visually striking bravado and overwhelming egos depicted in the show, it was crucial to ensure that we could deconstruct those elements and still perceive the characters as remarkably captivating individuals. This is what lighting signifies to me – dismantling that superficial gloss.

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Todd Banhazl: The one-take shot where the camera moves between arenas and plays while the rollerblader spins was a major challenge to plan, but it was incredibly rewarding to see how every department collaborated to bring it to life. Another scene that brings me great satisfaction is the opening sequence, where our characters are running from the enthusiastic Garden fans. I'm especially proud of capturing a dialogue scene inside a bus covered in milkshakes, chili, and hot dogs stuck to the windows.

Can you discuss the challenge of capturing the intense basketball action while also maintaining focus on the characters and their stories?

Todd Banhazl: The script is crucial in achieving this. Our aim is for the narrative scenes and basketball scenes to seamlessly blend together. They should both be driven by the characters' stories and emotions. The ultimate objective is to create a fluid experience where the audience doesn't differentiate between story and action scenes.

You mentioned this briefly earlier, but did you employ any specific camera techniques or equipment in Season 2 to elevate the visual storytelling?

Todd Banhazl: I believe it boils down to the formats. The way we employ the cameras ultimately revolves around storytelling. However, pertaining specifically to this show, we allowed the formats and aesthetics of the show to evolve alongside the time period and era, resulting in significant growth from Season 1 to Season 2.

Have discussions already commenced for Season 3?

Todd Banhazl: None of us really have a definite answer. It seems like there is still a lot more to uncover about the Lakers' journey. Only time will reveal the complete story.

The manner in which you have portrayed the Celtics this season truly creates a sense of anticipation for the intense battle at the end of the season. Could you discuss the process of working with the Boston Celtics team, focusing on how you built up their image and utilized the iconic Boston Garden for capturing their essence?

Todd Banhazl explained the concept behind the Garden, which is an older dynasty compared to the Lakers. While the Lakers represent Hollywood and Showtime, their arena is designed like a show, with the audience getting dark and seats brought out onto the court for celebrities. On the other hand, the Celtics' Garden is an older arena, symbolizing a long-standing dynasty. To create an uncomfortable atmosphere for the Lakers, the Garden was intentionally lit in a yellow and old-fashioned manner. The goal was to make them feel the weight of the Celtics' historical legacy. Additionally, the team had fun making the arenas look distinct and treated Red Auerbach, the Celtics' coach, with a mixture of villainous portrayal and deep respect.

And I believe that boils down to the camera positioning itself at a low angle, which enhances the lighting on him. I mean, I think Jerry Buss also held a great respect for Red. I mean, I believe that the rivalry, much like the one between Magic and Bird, is rooted in both a fierce competition and a profound mutual admiration. Our aim was to visually capture and convey this sentiment.

Absolutely. Can you share any standout or memorable moments from your experience working on Season 2?

Todd Banhazl: Wow, what a question. Let me take a moment to reflect. One particular moment that comes to mind is when we were on the bus, figuring out how to position the hot dog splatter on the window next to Magic. Our talented art department was experimenting with throwing the hot dog in the bun, trying to make both stick to the window. It was during that process that we realized only the bun would adhere, while the hot dog would bounce off. In that instant, I couldn't help but have a profound realization. I thought to myself, "If I had envisioned what filmmaking would be like when I was a child, what my dream was, I never could have imagined that I would be here, strategically placing hot dogs."

Do you use these techniques in indie films?

Todd Banhazl: Yes, the intention was to create a handmade and raw feel for the show, as if we were capturing something extraordinary. To achieve this, we adopted a visual style that could capture the essence of the moment by using three cameras and shooting on different formats simultaneously. By setting up scenes to feel authentic and allowing the operators and crew to explore and discover the narrative as we go along.

We had a variety of paintbrushes and methods of playing music at our disposal. However, when it came time to film, it became more akin to jazz. We would assess the scene and make decisions like using a 35-millimeter camera in one instance, but then realizing an 8-millimeter camera would better suit a more contemporary feel. We'd even experiment with the VHS camera, which allowed for unique perspectives and capturing hidden moments by being in unconventional locations alongside the actors. Essentially, our approach was to embrace the flexibility within our equipment and treat the filming process as a jazz improvisation.

Do you already know which technique you will use when breaking down scripts, or is it something that you decide in the moment?

Todd Banhazl: Personally, I prefer to plan as much as possible and have creative discussions beforehand. This allows us to improvise and make changes on set. For example, when working with my director, Salli Whitfield Richardson, who is incredibly talented, we meticulously planned every aspect, particularly the basketball scenes.

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Upon arriving on set, if there is a more favorable development or the actors execute a brilliant move that shifts our intended course, we have the liberty to swiftly adjust our visual approach, thanks to our prior discussions about the creative direction. While I initially had a plan for where to incorporate mixed formats, we continuously stumbled upon fresh ways to utilize them, stumbling upon delightful surprises every day on set.

What is a valuable lesson you acquired from your experience on Winning Time that you would like to apply to future projects?

Todd Banhazl: I have discovered the art of letting go. Given the ambitious nature of the show and its desire to achieve so much, embracing collaboration and unity becomes the only option. It is essential to get everyone on the same page and then relinquish control, allowing the magic to ensue. Initially, I was captivated by the idea of a visual style that appeared both accidental and spontaneous. However, putting this into practice proved daunting, requiring immense trust in all departments involved.

I pushed myself, along with the team, to foster an even greater level of trust, and to release our grip even further. As a result, I now feel more fearless when it comes to our work and our mutual trust, allowing us to surrender to the moment and appreciate the enchantment unfolding before our very eyes.

The Lakers rivalry with the Celtics is arguably one of the greatest in sports. However, in basketball, there are other notable eras such as the mid-'80s with the bad boys and the rise of Michael Jordan. Have you already started brainstorming different shooting styles between these different eras, even though it's not-

Todd Banhazl: Absolutely. In my spare time, I have been discussing and conducting research on how the game formats have evolved over time, up until the present day. It was important for us to have a roadmap in case we need to visually depict different time periods in the show.

About Winning Time Season 2

One of the reasons why I would like to persist in working on the show is because of the multitude of opportunities it presents. The show is intentionally crafted to evolve over time, abandoning the beautiful elements it once displayed in order to explore new avenues. Hence, I must admit, it is truly exhilarating.

Continuing the momentum from an impressive season overseen by Jerry Buss' dynamic leadership, the Lakers are determined to prolong their winning streak by triumphing over their archenemies, the renowned Boston Celtics. While team members navigate challenges both on and off the basketball court, the longstanding rivalries between Jerry Buss and Red Auberbach, as well as Magic Johnson and Larry Bird, intensify.

Check out our other Winning Time season 2 interviews here:

Quincy Isaiah & Adrien Brody

Jason Segel & Solomon Hughes

Michael Chiklis & Sean Patrick Small

John C. Reilly & Hadley Robinson

Max Borenstein & Rodney Barnes

New episodes of Winning Time season 2 air Sundays on HBO and are available to stream on Max.