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The film is set in 1970, several years in the future from the time of its release. The most obvious efforts are the appearance of the year itself, including on a Pentagon display and the registration sticker on the rear license plate of Senator Prentiss' Bentley sedan. Other nods include a situation room which was designed to seem futuristic, as well as the utilization of then-futuristic technology of video teleconferencing and the recently issued and exotic-looking [[M16 rifle]]. Additionally, the concept of a nuclear treaty between Cold War powers anticipated the actual existence of one.<ref name="DVD" />{{Rp|page=1:45:00}}
==Soundtrack==
[[David Amram]], who had previously scored Frankenheimer's ''[[The Manchurian Candidate (1962 film)|The Manchurian Candidate]]'' (1962), originally provided music for the film, but Lewis was unsatisfied with his work. [[Jerry Goldsmith]], who had worked with the producer and Douglas on ''[[Lonely Are the Brave]]'' (also 1962) and ''[[The List of Adrian Messenger]]'' (1963), was signed to rescore the project.
Goldsmith composed a very brief score (lasting around 15 minutes) using only pianos and percussion; he later scored ''[[Seconds (1966 film)|Seconds]]'' (1966) and ''[[The Challenge (1982 film)|The Challenge]]'' (1982) for Frankenheimer.<ref>Scott Bettencourt, liner notes, soundtrack album, [[Intrada Records|Intrada]] Special Collection Vol. 235</ref>
In 2013, [[Intrada Records]] released Goldsmith's music for the film on a limited-edition CD (paired with [[Maurice Jarre]]'s score for ''[[The Mackintosh Man]]''{{Snd}}although that film was produced by [[Warner Bros.]] while ''Seven Days in May'' was theatrically released by Paramount. The entire Seven Arts Productions library had been acquired by Warner Bros. back in 1967.
==Reception==
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