Issue link: https://digital.copcomm.com/i/1349602
T H E T R I A L O F T H E C H I C A G O 7 | P E R S P E C T I V E 5 7 research I came across it and became enamored with its color and texture. Another reproduction I chose to include in the courtroom (right side of the judge) was Abraham Sacrifi cing His Son Isaac by Laurent de La Hyre. I was thinking about how the counterculture was rebuking traditional and normative values and the parallel to how the father fi gure of ustice was destroying new ways of thinking. For all of these paintings, a high- resolution digital print on canvas was done and then the scenic department applied an overglaze, bringing out the depth and color. Everything in the courtroom was on casters, including the judge's bench, so that the camera could move either dramatically, with technocranes or dollies, or be static. Director of photography Phedon and I worked well together. And I relied on the fabulous costume designer, Susan Lyall, to help articulate the colors throughout the Production Design. In terms of timing, the entire church was converted in seven weeks, with the amazing Art Department achieving quite a lot of detail in that short time. ADG Shane Valentino, Production Designer Nick Francone, Supervising Art Director Julia Heymans, Ernesto Solo, Art Directors Shoko Kambara, Blythe Quinlan, Ambika Subramaniam, Assistant Art Directors Irene Krygowski, Set Designer Jamie Rama, Concept Illustrator Holly Watson, Lead Graphic Artist Dan-ah Kim, Graphic Artist Andrew Baseman, Set Decorator F E