Gaby Hoffmann was at her cabin in upstate New York with a small baby and without Internet when she was asked to audition remotely for an upcoming HBO series about the 1970s-era Los Angeles Lakers. She didn’t do it: She couldn’t quite figure out the logistics. But the casting directors continued calling, and by the third time they reached out, she was back in Manhattan with Wi-Fi. “I thought, Well, God, someone really wants to see me do this,” she said.
And thank goodness she did. Since its premiere three weeks ago, Winning Time: The Rise of the Lakers Dynasty has become appointment television. Created by writer-director Adam McKay (whose credit list includes everything from Anchorman to The Big Short) and based on the book Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s by Jeff Pearlman, the series is gritty, vibrant, and jam-packed with larger-than-life characters. Hoffmann shines as Claire Rothman, a pragmatic straight shooter who eventually becomes the general manager of the Lakers’ arena, The Forum. The rare woman employed in the 1970s sports world, Rothman endures sexist treatment from her colleagues even as she’s reinventing the business by programming concerts and events in the off-season.
Hoffmann has been working an actor on and off since childhood: She starred alongside Kevin Costner in 1989’s Field of Dreams and has since appeared in everything from childhood cult classics Now and Then and Uncle Buck to Amazon’s Transparent and last year’s C’mon C’mon. Days after the Los Angeles premiere of Winning Time, BAZAAR.com caught up with Hoffmann to discuss the joys of working with McKay, the strength and power of Claire Rothman, and how embodying the character inspired her to get dressed in something other than sweatpants for at least a brief few weeks.
I read an interview where you said that you love acting, but just don’t do it often. What about the part of Claire compelled you to jump back in?
They asked me to put myself on tape for it, and I didn’t get it together even to respond. I thought, Adam McKay is great, and this seems interesting, but I couldn’t picture it. Then a couple weeks later, they asked again. And again, I was like, “I can’t figure that out right now.” And then, again they asked! By then, I was back in the city where I have Internet. So I said yes, and over the course of the 10 hours that it took me with all my technical difficulties, I had so much fun. By the end of the day I was like, “Oh, I see why they wanted to see me do this.”
It was really by playing Claire that I became interested in wanting to play Claire. As my husband said, “It will be so fun to see you play a heterosexual neoliberal adult.” Because I kind of am perpetually playing an overgrown child.
What was the research process like? Did you speak to Claire or any other prominent women in sports right now?
I did not speak with Claire, because the Rothmans are not into this project. Which I totally get and respect; I’m sure I would feel the same way. And frankly, as much as I would have loved to meet Claire—she’s so fascinating and, I’m sure, wildly entertaining—I was also okay with not having any more of her than I got through the few photographs and articles about her. The less I knew, the easier it was for me to do my own take. I’m definitely not doing the real Claire Rothman. She’s a unique individual, and I could never in a million years pretend to imagine who she is inside and out.
I don’t know how to prepare for a role. I wish I did. I only know how to take the tools I’ve been given—the writing, the production design, the costume, hair and makeup, and my fellow actors—and use that. Of course, I read the book, but that was pretty limited. And it didn’t end up adding up to much more than a character that had been vividly drawn on the page anyway.
HBO
In the pilot episode, there’s a moment when Claire is heading into an office room full of men. Instead of unbuttoning her blouse, which has sort of been suggested by a colleague, she takes down her hair. I loved that moment, and I’m sure so many others do, because you’re playing to the men without betraying yourself. What does it feel like to play such a strong character while still being true to the realities of that time?
That’s a really powerful moment where you learn a lot about Claire. We don’t get to spend much time with her this season, but we get these little windows into her experience and her personality and the way she uses her power. Claire has been at this for years when we meet her. She’s come up through the ranks. She’s worked in many environments when she’s the only woman, and probably, usually, the smartest person in the room who doesn’t get to have the floor.
I think part of her genius is knowing how to walk that line while not letting it take her down. Maintaining her dignity to some extent, finding a way to use her intellect and talent and passion, while also playing the stupid fucking game just enough—just enough—that she stays in the conversation and stays in the room, but not so much so that she hates herself.
Those little concessions, those little moments of compromise that you see in her, I think, have taken a real toll on her over the 20-plus years that she’s been at this. They’ve eaten away at some part of her that, if we go on, will be reborn in this new era where she has [new L.A. Lakers owner] Jerry Buss. Of course, he’s flawed in many ways, but he’s going to give her more space to do her thing and be an equal player—as much as anybody can be with him, man or woman.
You mentioned your hair earlier. I have to ask, was that all you? Or a wig? It was so perfect in that first scene.
That was all of my hair, yes. My hair was a big issue. It was constantly changing. It was too big … it was always a conversation. But that’s all my real hair.
There was a nice moment when I came in to do hair and makeup tests. I walked in the room with Max and Adam, and was like, “Hey, guys. I’m playing 50 years old”—you know, I was in my 30s—”but luckily, I’ve already got lots of gray hair and lots of wrinkles. I don’t think we need a wig!” And Adam was like, “Well, great! Look at you. You don’t need a wig.”
It’s nice to be able to play a woman who actually looks her age. And all my premature grays can finally shine. I personally love them.
What was it like to collaborate with Adam McKay on this project? Had you been a fan of his work?
I was aware of Adam McKay before I had even seen any of his work, because he was a fellow Bernie [Sanders] supporter! In the ’16 election, I was campaigning for Bernie all around the country, and I was always like, “Who’s that guy?“
He’s really, really fun to be directed by, because he’s so smart and he has an incredible sense of humor. He comes from an improv background, and he never forgets that we’re playing. That’s what we’re doing: We’re putting on a show, and that should be fun and open and creative. There was always time for finding something new and trying out a joke. He’d throw out lines over the mic in the middle of a scene to try out. So there’s a big, playful, lovely, incredibly supportive energy.
After wrapping this season, what was the main thing you took from portraying Claire?
You know, after spending all of that time in hair and makeup, and putting on those nice, smart suits and my little heels, I remember thinking, I should not just roll out of bed and be in my dirty jeans from the day before. It really does something for you. You stand up a little straighter, and it kind of clears your head. That was the biggest tool for me to get into character. Often, my sweet wardrobe ladies would say, like, “Oh, I left you comfortable shoes, because you’re sitting at your desk.” And I’m like, “Nope. I gotta put those heels on.” Because until I put those heels on, I don’t feel like Claire.
So have you started getting dressed up regularly?
Definitely not. But I did have a period of time where I was … wearing outfits. And it felt nice. Every morning my daughter was like, “Are you going to work? Where are you going?” I don’t know what happened, but I forgot all about it, and I’m back to my slovenly ways. I also have my right hand in a cast, which is really ridiculous looking. But when this cast comes off, if you see me around town, watch out.
This interview has been condensed and edited for clarity.
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Gaby Hoffmann on Winning Time and ’70s-Era Sexism
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