Myths, Marionettes and Michael Jordan Share a Stage for Nike
A scene carved into many a basketball lover’s mind; it’s 1985, and Michael Jordan steps onto the court to play his first and only game of basketball in Trieste, Italy. An exhibition game that was equal parts explosive and entertaining, it culminated in an iconic backboard-breaking dunk that was immortalised in sporting history from that moment on.
Revisited today as a tribute to Jordan’s sporting and cultural legacy, Nike’s ‘Shattered Backboard’ campaign combines basketball legend with Italian history. Marionette puppets fill Jordan’s incredibly large shoes, putting on the performance of a lifetime (for an audience of puppets) at the ‘Teatro Di Jordan’.
Created by Doubleday & Cartwright, the spot was directed by Zack Canepari through Elsewhere Films and edited by Spencer Campbell at Final Cut US.
Describing the brief as “maybe the greatest brief in the history of briefs”, the parameters of the project were established from the get-go. He was asked to create a short film that tells the story of Michael Jordan playing in Italy in 1985, during the game, he dunks the ball so hard that the backboard shatters… and it needed to be made using puppets.
“Basketball and Italy are my two favourite words in the English language, so there was no lack of enthusiasm on my end,” Zack adds. “And, because of hubris, I was completely overconfident about working with puppets.”
It transpired that getting puppets to cooperate was actually a sport in itself, one that required the entire production team to pull together in pre and post production to achieve the final, emotionally charged performance.
“I’ve got to shout out Chris Isenberg at Doubleday & Cartwright, who wrote and previsualised the piece before bringing me on,” says Zack. “He and I have partnered on a handful of projects now; the trust and shorthand run deep.
“The early brief and the finished piece are pretty similar,” he continues. “Once in a blue moon, you’re handed the keys to a nice car, and all you’ve got to do is not crash it.”
Above, director Zack Canepari and Puppet Kitchen’s Eric Wright watch a rehearsal (Video credit Gary Kout)
Setting the Stage
While merging marionettes with basketball might not feel like an obvious creative direction, for the team behind the campaign it was a no-brainer. “The thinking was clear: this is a myth – a basketball folktale – and it takes place in Italy. Animation, reenactments, or stop-motion didn’t feel right. This is the birthplace of the marionette GOAT: Pinocchio,” says Zack.
The marionettes, therefore, had to look and feel like the stars of the show, performing for a crowd of 2D spectators, Jordan’s puppet figure had to exude dominance, mastery and showmanship on the court.
“The puppets were a real creative constraint,” says Spencer. “Our challenge was to portray His Airness’ dominance on the court with puppets that… weren’t exactly athletic. We had to lean into suggestion and sound – crowd swells, an impassioned stadium announcer, VO, and editorial rhythm – to evoke a sense of impact, rather than relying on physical action and emotion.
“In the end, I think that limitation pushed us toward some fun and unexpected storytelling choices.”
“Turns out, marionettes are hard to build and even harder to work with (who would’ve thought?),” adds Zack. “Eric Wright at Puppet Kitchen was our puppet director, and his team built every single piece from scratch.”
The handcrafted nature of the campaign was a key component of the edit, Spencer explains. “Everything was practically built and shot in-camera. My role was more about honouring that handcrafted aesthetic and letting the tactile nature of the puppets and sets come through cleanly.”
“The spectators are glued to popsicle sticks and controlled by levers and pulleys,” adds Zack, “the broken-glass mechanism was invented from scratch. That handheld quality is what gives the film its feel. Eric is the maestro. Then our DOP Joe Bressler did the rest.”
Left, The puppet team (from L-R) Spencer Lott, Eric Wright, Joshua Holden and Kevin White prep the puppets for shooting. Right, Puppet Kitchen’s Eric Wright with the Opponent and puppet builder Kevin White with MJ. (Photo credit Gary Kout)
To achieve the best performance from the puppets, the team had to first understand their limitations and how to counter them. So, whilst the puppets – Michael Jordan and his opponent – are the stars of the show, they were also the biggest challenge. Zack says, “They don’t speak. Their faces don’t move. They can’t dribble or shoot a basketball. All of the emotion has to come through body language. The limitations are real, but once we understood what those limitations were, we were able to invent creative solutions.”
The puppets’ eyebrows were the only manoeuvrable element on their faces, therefore body language was key. “Every shrug, every lean, every turn of the head had to carry meaning,” says Zack.
The team also leaned on creative camera and lighting decisions to tell the story. “Our DOP Joe Bressler has a fun playful style,” says Zack. “We used camera movement to help echo the emotional state of the Italian opponent. Snap zooms could mean surprise or frustration. Slow-motion to convey awe and reverence.”
This process applied to the edit too; setting the right rhythm was crucial, and Spencer worked closely with Zack throughout the process to ensure the right tone and atmosphere was achieved. “His pre-vis and planning gave the cut a strong backbone, but there was still plenty of room to explore nuance, rhythm, and editorial voice in the final stages,” says Spencer.
Above, DP Joe Bressler (behind camera) frames up the shot with the puppet team (L-R) Spencer Lott, Kevin White, and Joshua Holden. (Photo credit Gary Kout)
Replicating Greatness
To transform the game into a condensed two-minute puppet show, the performance first required a deep knowledge and understanding of the original game, and the key moments that led up to the unforgettable backboard smash.
“We started by studying the footage like it was an ancient text – the uniforms, the crowd, MJ’s 1985 fit (two chains!), the arena lighting, the score at halftime, the opponent’s moustache, MJ’s form on the dunk, and the way the glass shattered. At one point, I even wanted to incorporate the real footage,” recalls Zack.
“The glass raining down on the unsuspecting opponent is art in itself,” adds Spencer, “but the final piece didn’t aim to replicate the game literally. The puppets gave us license to amplify and stylise. Aside from key visual cues like uniforms and the famous dunk, the edit leaned more into theatrical interpretation than documentary reenactment.”
Above, Puppet Kitchen’s Eric Wright deftly handles backboard breaking duties. (Video credit Gary Kout)
As the performance takes place in a puppet theatre for a puppet audience, there was an extra layer to this already complex project. “It meant the beats and references needed to be instantly recognisable,” Spencer explains. “Some scenes in the original script were eventually cut because they weren’t helping the audience. We stripped the story down to the studs and focused on what mattered most.”
The music and sound also play a huge part in driving the story home, and build emotional resonance in ways that the puppets could not. Combining an original score with narration by Roni Moore, who isn’t a trained voice actor, “brought an authenticity that was a great counterweight to the magical puppet vibe,” says Zack. The result is a soundscape that’s fast-paced, dynamic and unmistakably Italian. Sound design was handled through Michalis Anthis at Machine.
“Every sound in the film is original – he built the entire world from scratch. The music is instantly recognisable, and the VO sits clearly on top, so the rest became an exercise in restraint,” adds Zack.
Reflecting on his decision making, Michalis shares, “The narration and voices in this film had a special place. We cast various narrators but Roni felt right with his natural conversational tone. For Jordan’s Italian opponent, we landed on something authentic with subtle flourishes of comedy and drama. We also recorded loads of crowds in Italian which helped a lot!
“We started on the sound early in the project and worked closely with Spencer, ensuring the tone was set early on. The approach of sound within archival storytelling allowed us to experiment. We created a ‘vintage broadcast’ feel with the mix...a ‘real’ / found-audio world. Finally, it was a fun game of priorities and creating space for the narrator/opponent alongside the rich and dense sound bed.”
For Spencer, his editorial decisions were guided by the build up to the iconic dunk moment, “the emotional centrepiece” of the spot. “The shots around that sequence were so thoughtfully art-directed – the lighting, the backdrops, Jordan’s shoes flying through the air – that the key for me was finding the exact rhythm: when to cut in, when to hold, and how the operatic score heightens this religious experience. It was less about cutting for speed or action and more about pacing it like a stage performance.”
Above, director Zack Canepari (seated) frames up a shot during rehearsal with Kevin White (on stage) and Puppet Kitchen’s Eric Wright. (Photo credit Gary Kout)
A Cultural Legacy
‘Shattered Backboard’ taps into Nike and Jordan Brand's historical, cultural and sporting legacy, speaking to an already established and loyal audience of fans. Zack shares that achieving this was “very straightforward”, saying, “The shoe is woven into the fabric of every Jordan myth. It’s intrinsic to the universe. There’s no need to over-contextualise – the audience already has the shorthand.”
The brand’s legacy, therefore, allows for more creative freedom. Describing the project as “creatively bold – and just shy of certifiably insane”, Spencer adds, “Nike Jordan – the brand, the name, the player – has had a huge impact on global culture. It’s synonymous with greatness, influence, and peak athleticism.
“Getting to help tell a Jordan story in a way this unexpected was a dream. It’s not every day you get to work with puppets, opera, and basketball in the same timeline.”
Left, director Zack Canepari with the star of the commercial, MJ. Right, Opponent takes a break from shooting. (Photo credit Gary Kout)
