Issue link: https://digital.copcomm.com/i/1485934
Dire circumstances can, at times, create unforeseen opportunities. The production had previously located a glass art factory in the Czech Republic (in a region near Prague known for its glass art production), but had not gone down that road, worried about creating "one-off" artwork when multiple takes were required by the script. Faced with a "none-off" situation though, we dispatched John Dexter to Prague to take over one of those factories for several weeks to build our glass art inventory. The unique photographic qualities of real glass were far superior to the cast resin we had been using, and we felt enormous relief at staying on schedule. At the start of the show, in my own COVID- reduced circumstances in the States, I worried about the unknowns of basing the production in Serbia, and sought to supplement our construction needs for Miles' Glass Onion office through familiar contacts in the UK, a tricky build that was then disassembled and trucked to Belgrade to be reconstituted on stage. Nevertheless, it was a relief to discover there are very talented artists and technicians in Serbia, hardworking and generous, and ultimately we felt well supported by the energy and discipline of the locally based Art Department, supervised by the outstanding Art Director Dragan Kaplarevic, and the rest of the construction, set decoration and props departments. ADG C. THE GLASS ART CREATION AT PACINEK GLASS FOUNDRY NEAR PRAGUE SUPERVISED BY JOHN DEXTER, DESIGNED BY RICK HEINRICHS AND ILLUSTRATOR QINGLING ZHANG. D. THE ART GLASS HOLDS ITS OWN WITH ANOTHER OF THE FILM'S STARS, PRODUCTION STILL ON THE GLASS ONION SET. C D