Theodore spends his 9-to-5 day as a professional letter writer in the downtown office building on 400 Hope St. Decorated with many red hues, the office is one of the many examples of a special rule cinematographer Hoyte van Hoytema implemented that was seldom broken.

"Hoyte wanted to avoid blue, then we said 'OK, let’s do one scene with blue,'" production designer K.K. Barrett told The Times in December. "We didn't want it to seem too dystopian or foreboding. And there was so much blue sky we wanted to avoid it on the ground. We were all really enamored with red. If you look closely there’s a little bit of red in every frame. It just gave it all a warmer feeling."