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Sterling LeDuc Professor James Reddoch Into to Film May 1, 2014 Cinematography in Sport Films Looking at various sport films throughout the years, the story is rarely focused on the act of winning an event. Most of the time sports films are purposed to portray a different type of achievement in a characters life; an achievement that is reached only through participation in a sporting experience. For example, in Clint Eastwoods film Million Dollar Baby (2004) the overlaying themes were of becoming the best boxer in the world, or to even win the championship; the themes were to maintain hope, be persistent, and to sacrifice for that which you love most. Though these themes were present throughout the film, they reached their true significance only after Maggie (Hilary Swank) broke her neck in her last boxing match (the sporting event.) It was only during the moments following the horrific match in which Clint Eastwoods character Frankie was able to understand what it means to hope and to sacrifice. But like any film worth watching, the theme wasnt transparently obvious or directly stated. Rather it was stated indirectly, without exaggeration. Any theme is best expressed in the details rather than in the big picture. When filmmakers take this course of action then theme becomes more of a suggestion rather than an order, which is all-around much more acceptable and meaningful to any audience. This is how cinematography can be so spectacular. It is when cinematographers use film techniques in order to portray the greater message and character emotion in which an adequate movie can become an unforgettable classic, especially in sports films.

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Though to some cinematography is only considered to be significant in creating a moving picture, the reality remains that it is so much more than that. It has come to the point where cinematography has become its own work of art. Of course, cinematography has developed over the years, beginning with films like The Great Train Robbery (1903) in which the cinematography was generic. (Consisting of stationary, wide-angled shots) It has now developed into the modern day with the complex cinematographic works of artists like Emmanuel Lubezki. Now it is seen that cinematography can aid the flow, development, and characterization of a story to such a degree that it almost tells its own tale. It has grown to the point where the camera can literally express its own emotions; a significant achievement particularly in sports films where emotion is bound to run high. Roger Deakins, one of the most popular directors of photography in the American film industry, once said about cinematography, its got to mean something. Youve got to know why youre doing it; its got to be for a reason within the story, and to further the story.1 The greater filmmakers who have discovered this have been able to change adequate movies with amusing storylines, into spectacular classics for the ages. The catch is to deliver remarkable cinematography without causing a distraction from the story. Only when a sports film maintains cinematography with true imagination and discipline can a film reveal some of the most touching and emotional messages possible to deliver on screen. The 1993 film Rudy can become stirringly emotional for even the most masculine of audiences. This film is an excellent example in which the cinematography aids in the development of both emotion and storyline without distracting the audience. Rudy is about a small, yet persistent
1

Smith, Scott W; 10 Cinematography Tips (Roger Deakins), (2011) http://screenwritingfromiowa.wordpress.com/2011/02/13/10-cinematography-tips-roger-deakins/

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fellow who dreams of playing football for Notre Dame. Despite his size, Rudy finds a way to beat the odds and meet his goal. Though its a simple story, it is a tale for the ages, made all the better with the precision of the cinematography. A particular emotion-building technique of the camera was the incorporation of many slow-motion action sequences. These were significant in two ways: firstly it allowed for crucial emotional build-up and character development; two it set the theme of the film; that some dreams dont come fast; some dreams come slow and overtime, but in the end its always worth the time. Another significant technique was a constant switch in perspective by the camera. At the beginning of the film, when Rudy is a child, the camera angle is low, at his eye level. This makes all the other characters appear much larger than normal, adding to the claim that Rudy is indeed short. Further in the film, when Rudy has grown to his fullest extent, the camera level is generally at the height of everyone else. Though the technique is different, the outcome is the same. Rudy is still viewed as miniscule compared to his comrades. In contrast, at the ending of the film, as Rudy is hoisted above the crowds in celebration of his miraculous achievement, the camera is again low; only this time, with Rudy above the rest, he is a giant. As powerful as it is silent, the cinematography was spectacular in this film, making it nearly impossible to misinterpret the simple message of perseverance. The 1976 film Rocky, though a sensational masterpiece receives little commendation for its miraculous cinematography. As Rocky grows up being a nobody in his hometown Philadelphia, he comes to find his self-worth through a boxing match with the champion Apollo Creed. The cinematography, as underrated as it was, was quite fascinating in the development of both the story and the characters. In the development of the characters, there were several moments in which the camera would pan in for a close up of the characters faces; in particular

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the scene in which Rocky looks in the mirror. Though unspoken, the camera brings the audience into the mind of Rocky, revealing the specific fears and aspirations of his heart; a type of emotional attachment only reachable through adequate camera work. Apart from sporting a dismal lighting mood (except in particular scenes of confidence) the cinematography also featured several very long and distant shots; often displaying Rocky as a very small portion of the frame. This technique expressed the feeling that Rocky was somewhat lost and engulfed by the world around him. Without disturbing the flow of the story, the cinematography seemed to mirror the emotions of the characters almost perfectly; A feature that all directors of photography should strive for. Perhaps one of the most underrated of sports films, Gavin OConners MMA film Warrior (2011) is a prime example of how cinematography can be taken to give a new life to both a film and its message. The emotional storyline of the film follows two estranged brothers, one a physics teacher in danger of losing his home (Brandon,) the other a deserting war veteran looking to provide for his fallen comrades family (Tommy.) Both despise their outreaching father Paddy, who is a recovering alcoholic, well known for his coaching abilities. In hopes of providing for their loved ones, each brother decides to enter a winner-take-all MMA tournament with a $5,000,000 jackpot. It is only through the process by which they come to understand the importance of the family they each have forsaken; a parable which is ever-present throughout the film. The director of photography Masanobu Takayanagi, decided to break several filming rules in order to subconsciously demonstrate the films internal messages, and thus change an otherwise ordinary story into a masterpiece. One such way in which he broke the rules was in the framing of the subjects. Instead of placing the camera straight on, aligning the characters

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within the rule-or-thirds, he would position them in unsymmetrical, awkward positions. Famous cinematographer Luciano Tovoli once said, The edges of the frame are often more interesting than the center; a concept that Takayanagi exhorted brilliantly.2 For example the scene at which the characters Tommy and Paddy are at the diner is simply oozing awkwardness as drugged-up Tommy seethes with emotion when he requests his fathers aid in MMA training. In this scene the camera is positioned at an angle where only half of Tommys face is shown, while the rest is either out of frame or covered by a blurred object; the object itself taking up half the frame. Though its indeed unorthodox, the set up for the shot was not a mistake. The purpose, more than anything, was to subconsciously draw the audience into the minds of the characters. The awkward camera angle demonstrates the discomfort of the situation between Tommy and Paddy. It rides and gives momentum to the emotion of the characters. And though it could just be for the sake of drawing attention to Tommy, the conspicuousness of the blurred object could have been a direct way to illustrate the tension on Tommys drug-strained mind and on his prideful ego. Either way, it sets the mood of the film, bringing more life into the characters, enhancing the mise en scene of the film altogether. Another way in which Takayanagi used cinematography to convey the inner messages of the film was in his choice of camera devices. Though he did not quite use a hand-held, it is apparent throughout the film that the tri-pod was indeed absent. A slight rock in the camera is constantly present, but it ingeniously never distracts from the story. Instead it maintains a subconscious tension which allows the audience to both feel the stress themselves and to understand the
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Hardy, Robert; 88 Cinematographers Share the Best Advice They Have Ever Been Given, (2013) http://nofilmschool.com/2013/12/88-cinematographers-share-best-advice-ever-given/

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anxiety of the characters as the plot develops. He places the cherry on top with a consistent gloomy lighting. Altogether, it builds the crucial audience-character bond every film needs. Over the course of the entire film, the cinematography maintains a constant mood and a tension keeping the audience on the edge of the seat. The cinematography reaches its finest point, capitalizing within the final match between the two brothers. Both having gone through physical and emotional agony to reach the championship, they simultaneously realize the importance of that which distanced themselves from: family. Tommy favors his broken left arm as he rises in preparation for the final round against his brother; the camera behind him switches the sensitivity to alter a focus on Tommy and a blur on Brandon to a blur on Tommy sending Brandon back into focus. The camera angle changes with a reverse angle shot to the back of Brandon, slowly altering the sensitivity again to give the focus from Brandon to Tommy. Though its fairly common filming technique, it is used to perfection in this sequence. This method allowed Takayanagi to once again place the audience in the minds of the characters. The audience is able to experience the realization alongside Tommy and Brandon as they come to change their attention from the heat of the match to their brotherhood. Through this, the strong storyline underwent a transformation from a modern underdog chronicle into a moving work of art; topped with a clear and profound message, simply riddled with cinematographic emotion. As the match comes to a close, the film ends in a final scene with Brandon supporting Tommy as they walk down the tunnel arm-in-arm, as brothers again, occupying the exact middle of the frame in perfect symmetry; delivering the final testimony of the film: family is most important. Warrior (2011,) though tragically underrated is a superb example of a film whose cinematography can speak for itself with profound emotion and story-building. As it may

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not be a classic, it cinematography sets the bar high for not just sports features, but for all genres of film. There are many sports films with admirable cinematography. But there are few that demonstrate how cinematography can be much more than just a capture of movement. It is, in its purest form, an impression of emotion with a heartbeat of its own. As much as cinematography is technical, I think its more about emotion -- what I felt from the story. In each case, I thought film would capture that emotion. Theres something that I dont think we can describe.3 Especially in sports films, emotion needs to be captured and depicted with grace and precision. With great cinematography, such grace is not only attainable, but fought for.

MotionKodak.com, OnFilm Interview: Masanobu Takayana, (2013)

: http://motion.kodak.com/motion/Publications/InCamera/Sections/ONFILM/ONFILM_Interview_Masanobu_Takayana gi.htm#ixzz30KOl5muw