Issue link: https://digital.copcomm.com/i/1349602
Michigan Avenue The production shot all of the protest and riot scenes in Chicago, but because so much time had passed, a lot of the spaces had been modernized. Our challenge there was to strip away the modernization and add elements that could get the audience into that time period, but in a sensitive way so it didn't look stylized. The amount of coverup for the scene on Michigan Avenue, when the protesters are marching down the avenue toward the police district to try to get Tom Hayden released, was signifi cant. The Art Department and visual eff ects people teamed up beautifully to make that scene into something you can believe is 1968. The Courtroom The courtroom that is depicted in the fi lm is a total departure from the original courtroom from the trial in 1969. That one was designed by Mies van der Rohe in the steel, glass, and concrete of the International Style. Initially, I'd planned on recreating it but knew the production couldn't build it from the ground up. We needed a location- based set. Our push was to fi nd spaces that would allow for the construction of the interior. Part of that process included doing a study of models and renderings projecting the look of the courtroom within a variety of warehouses and large spaces (not stages). When Aaron and I sat down to discuss these options in detail, we realized that they ran counter to our shared cinematic imagination and decided to totally COLOR 1 A B C