The show relives West’s trauma of losing six championships to the rival Boston Celtics under coach Red Auerbach (Michael Chiklis). There’s also a subplot involving Lakers superstar Jerry West (Jason Clarke), whose coaching career is upended with the arrival of Johnson. We fondly referred to the style as ‘Dad-Cam,'” Banhazl said. “We wanted the audience to feel like they were watching footage shot by a family member. ”Īnother idea was putting a pistol grip handle on the 8mm camera for Johnson family gatherings, including a church fish fry when Magic says goodbye to his family. It was not only used for archival, it has such an interesting quality for closeups. “We also discovered that it was very emotional for the Ikegami. “The 8mm itself with the perf in the frame the collective memory and how movies have influenced that,” added cinematographer Malaimare Jr., who shot Episodes 3, 4, 7, and 8. This occurs when Johnson’s high school girlfriend and future wife Cookie (Tamera Tomakili) breaks up with him in Episode 1. However, they took this even further by intercutting 8mm or Ikegami footage during present-day scenes to extend the archival look for greater intimacy and vulnerability. We’d start shooting faces and using 8mm in emotional ways.” But quickly we started breaking that rule. The rule for that was we’d shoot establishing shots on 8mm and we’d do inserts and period details. From there, we wanted to create our own archival look so that’s where the 8mm came in. “We asked the lab to not dust bust the negative before we scanned it to give it extra dirt, and then we continued to push that look further digitally with colorist Walter Volpatto. When not walking, the Tomb Guards spend their duty time in quarters below the Memorial. “We underexposed the negative so that it was dirtier,” he said. The Old Guard has held this distinguished duty since 1948. Playing into Corwin and McKay’s mix-and-match archival style, the DP shot a variety of film stocks - 35mm, 16mm, and 8mm color and black-and-white - and even incorporated long outdated tube video technology (Ikegami ITC-730A and HL-79 cameras).īut Banhazl push processed all the 35mm color film to make it grainier and add contrast, riffing on the look of iconoclastic photographer William Eggleston. Once Banhazl figured out that the primary format was going to be in 35mm, he decided to emulate the look of Kodak’s long-defunct Ektachrome for the present day ’70s and ’80s, and the even older Kodachrome look for the ’50s and ’60s. Corwin even satirizes the black and white racial undercurrent with over-the-top graphics. Another montage foreshadows the rivalry between the Lakers’ Johnson and the Celtics’ Larry Bird (Sean Patrick Small) prior to the NBA draft. We were just trying to use analogs to capture the times.” The main title sequence is a perfect collision of basketball, sex, drugs, hip-hop, and Hollywood glam. It became collages, at least for me a Hockney painting or a William Burroughs with his strips. “We figured we’d start trying to put together a vibe, a feeling of the times. “It was almost like this chemical recognition in your brain,” said Corwin, who edited Episode 1 and supervised the rest of the editorial as a credited producer. As Buss makes his way through the naked, slumbering guests, his intimate perspective becomes more raw and visceral. This happens at the outset, with the introduction of Buss breaking the fourth wall at the Playboy Mansion to tell the viewer of his intention to turn the NBA upside down by purchasing the Lakers. The entire stylistic endeavor was the equivalent of performing jazz, which is a constant between McKay and Corwin as part of their improvisational collaboration. The camera, meanwhile, moved in a combination of news documentary and zoom-obsessed Robert Altman fashion. 'The Vow, Part Two' Trailer: NXIVM Founder Keith Raniere Goes on TrialĪ-Listers Enter the Best Director Race with the Advantage 'House of the Dragon' Star Olivia Cooke Was Told to Play Her Character Like a Trump Supporter It was like a pop culture mixtape, pulling in from all these references from our collective memory.” “And we knew from the scripts that the show was going to be mixing in footage that we had shot, period footage that we had shot, real archival with photos. NFL footage © NFL Productions LLC.“The early conversations were that it would be shot on film because of the time period, and because Adam’s a film guy,” said Banhazl, who shot Episodes 1, 2, 5, 6, 9, and 10. All other NFL-related trademarks are trademarks of the National Football League. NFL and the NFL shield design are registered trademarks of the National Football League.The team names, logos and uniform designs are registered trademarks of the teams indicated.
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