Less mind-blowing than expected, but Jeffrey Kurland sure knows his way around a suit:
Not wanting to date the film, I was trying to create an upscale world of business and intrigue with architecture being a constant metaphorical thread running throughout… definitely forward thinking, without being futuristic. That enabled me to travel from reality to dreams and back, keeping a certain amount of stylization that would serve all the situations presented in the script.
K and I loved that golden Japanese room, and Marion Cotillard’s wasp-waisted glamour (the man candy didn't hurt, either). The ski goggles and African people as props...not so much.