Issue link: https://digital.copcomm.com/i/1349602
the gallery at the back of the courtroom. The significant size turned out to be very useful for the production of the film. After making sure that the church space would work with the blocking of the scenes, I designed the look to be as dynamic as possible in the context of a traditional courtroom. Around 0-0 percent of the storyline is spent there so it was critical to have it feel energized. This visual variation was achieved by placing multiple obects on both the vertical and horizontal fields adding eight large decorative chandeliers and emphasizing the size of the large existing windows. The windows were critical to the shoot, generating a wide range of lighting possibilities so the shoot could easily slide between morning, afternoon and evening scenes. They also allowed for special effects elements like snow or rain to show seasonal shifts in the storyline. When I was designing the interior architecture, I knew that it was important to establish different sight lines. I wanted to create a dynamic with the defendants sitting below and the udge orating from on high, to visually reinforce the imbalance of power between characters. And so for the paintings behind the udge, I selected reproductions of scenes from mythology. On the left, I placed Hercules at the Crossroads by Annibale Carracci, as a nod to the characters who were challenging complacency and the status quo. The center image was a painting by enyon Cox, The Beneficence of the Law. In my scouting and A. CONSPIRACY OFFICE. PRODUCTION STILL. B. BLACK PANTHER HEADQUARTERS, SET PHOTO. C. CONSPIRACY OFFICE. SET PHOTO. D. SDS (STUDENTS FOR A DEMOCRATIC SOCIETY) OFFICE. SET PHOTO. E. COURTHOUSE. CONCEPT ILLUSTRATIONS BY JAMIE RAMA. F. COURTHOUSE. PRODUCTION STILL. G. JUDGE'S CHAMBERS. SET PHOTO. PHOTOS BY NIKO TAVERNISE. E F G