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It was important to Gilroy for the competing companies to have a distinct look and feel. Burkett & Randle was designed to present an identity that was very clean and stark, because its counterintelligence agency was underground, dark and buzzing with activity and high-tech spy systems; it was built to feel like a clinical bunker. In contrast, the Omnikrom unit was more a collage of texture, pattern, layers and transparencies.

Says production designer Kevin Thompson of the steps he took with the filmmakers: "You start with very basic, rudimentary ideas, like Burkett & Randle is going to be white and minimal, and their theme color is going to be blue. The Omnikrom team is going to be the red team, and they are going to be much more high-tech with layers of texture and grays and no white or blue at all. Oddly enough, Burkett & Randle's logo ended up being blue, and Omnikrom's logo was red.”

Thompson has a high regard for Gilroy's aesthetics. "Tony's extremely visual and very specific in what he likes: clean lines, restful compositions and fairly masculine designs,” he says. "Because he's a writer, he can articulate what he likes visually; it's a real asset to the designer.”

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