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Fonte: Acervo pessoal de Ivanir Tupy Prolo, Programa Nacional Biblioteca da Escola Ivanir Alves Calado. The round window in Dark City is concave like a fishbowl and is a frequently seen element throughout the city. The inhabitants do not live at the top of the city; the main characters' homes are dwarfed by the bricolage of buildings. Proyas said, "I do like Greek mythology and have read a little of it, so maybe some of it has crept into the work, though I don't completely agree with that point of view.

Writers Guild of America initially protested at crediting more than two screenwriters for a film, but it eventually relented and credited all three writers. Proyas envisioned a robust narrative where the audience could examine the film from the perspective of multiple characters and focus on the plot.

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It's a city built of pieces of cities. A corner from one place, another from some place else. So, you don't really know where you are.

A piece will look like a street in London, but a portion of the architecture looks like New York, but the bottom of the architecture looks again like a European city. You're there, but you don't know where you are.

It's like every time you travel, you'll be lost. The production design included themes of darkness, spirals, and clocks.

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There appears to be no sun in the city's world, and spiral designs that shrink when approached were used in the film. A major clock in the film shows no hours; Tatopoulos said, "But in a magical moment it becomes something more than just a clock.

When design first started, the filmmakers considered having the Strangers be bugs underneath but decided that the bug appearance was overused. Tatopoulos said Proyas wanted to make the Strangers energy beings, "Alex called me and said he wanted something like an energy that kept re-powering itself, re-creating itself, re-shaping itself, sitting inside a dry piece of human shape. The set for the lair was fifty feet 15 m in height, where an average set is thirty-six feet 11 m.

The lair set was built on a fairground in Sydney, Australia.

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The lair also had a rail conveyance that appeared expensive. Tatopoulos said, "We had, obviously, a car built, but we had just one built. We laid some rail for it to ride on. We made a section of corridor that we kept driving through all the time, and you end up believing this thing is running along forever.

The music for the film was edited by Simon Leadley and Jim Harrison. The Matrix was released one year after Dark City and was also filmed at Fox Studios in Sydney using some of the same sets. One of the last scenes of the movie, in which buildings "restore" themselves, is similar to the last panel of the Akira manga.

Proyas called the end battle a "homage to Otomo 's Akira".Porque eu sempre fui Receba as … Mundo de Sombras - Ivanir Calado - skoob. Rua Fortaleza de Sofala Y eso se nota en una cocina de calado.

The city has a World War II dreariness reminiscent of Edward Hopper 's works and has details from different eras and architectures that are changed by the Strangers; "buildings collapse as others emerge and battle with one another at the end".