Another challenge was not having many windows on the buildings, a throwback to designer Syd Mead’s original artwork. Denis felt that the simple geometric shapes, particularly that Syd Mead diagonal that’s common in all his building designs covered in as a big, monolithic piece of concrete, represented the mood, feel, and style of the film. It felt brutal, simplistic. So when that became applied to everything, everything looked the same. Everything. So that, on top of the fact that it was all heavily comforting to be simplistic in colour, left us with this feeling of it not being real. So we had to find a way to put enough details in there to believe it.