Escape room 2 movie#
Escape room 2 full#

The beach set was the largest of them all and had to be built from the ground up which made it the longest and most challenging sequence. “So initially we thought, ‘What about an ancient temple?’ We did some really cool concept art but it just felt like a ‘Maze Runner’ movie, it didn’t feel like ‘Escape Room.’ And then one of my Sony executives said, ‘What if it was a beautiful Cape Cod beach?’” “Quicksand was always something that was scary to me as a kid,” said Robitel. “He starts painting this picture for me and once we knew, the threat just seemed obvious.” “I remember distinctly sitting in the room when Adam looked across the table at me and was like, ‘What about a beach?’” said Honley. “Where you can see where your exit is, and it looks clear, but that’s not the case.” “There’s something intriguing to me about being able to see the safe place and not being able to get to it,” said Honley. That includes the room’s exit, a 2,000-pound tooled door that was created from scratch and brought to the location. So the props themselves took a long time and a lot of them were very engineered and designed.” “Every time we punch in on a closeup of a clue, it has to be designed. “It’s a huge job for the props department and the graphics department to make sure they really get these clues on track.” Luckily Thomas had experience creating lasers for “Resident Evil.” “I knew how you can get the cast to really fear the lasers because very often they’re just bits of string,” he said. There haven’t been that many great examples, so I was worried going in that the visual effects weren’t going to be up to snuff,” said Robitel. Thomas and his team also built the freight elevator that transports the surviving players between puzzles.Īchieving it visually was the hard part. “We had the actors run through four different versions of the same set with different stunt people so it makes it feel like it’s huge and long and vast but it’s actually just a small section of a build,” Robitel said. The station’s length was extended using CGI.

Escape room 2 full#

The crew found a location to serve as the exterior of an underground station and built one full train car, the facade of a second that could be visible through the window and a set for the interior of the station. There are no trains in Cape Town so the train station that you see is a bunch of sleight of hand and trickery.” “The train was built entirely from a 3D model of an actual New York City subway car. Next, Thomas “really brought it to the next level,” said Robitel. “Like, ‘OK, now we’re underneath New York City and there’s all these defunct trains and stations and tunnels so it’s like a labyrinth under there.’”Īlthough Honley had never been to New York or been on a “bonafide subway” before, he used Google Images to imagine potential clues that could blend into the interior of a train car like handholds, signage and tokens “even though those haven’t been in usage for like 20 to 30 years now.”

“Electricity can certainly be very visual and cinematic and that was my way into the movie,” he said. “And then from there it’s like, ‘OK, we have the space, what would be the visual threat?’”Įlectricity was a no-brainer, he says, thanks to the association of trains with the electrified third rail. “I thought the idea of a subway car derailing and then pulling us into the game in a very high octane way could be really cool,” said Robitel. Here, the crew explain the process behind four of the film’s major escape rooms: “What’s been great about these movies and working with Adam and the writers is that they’re open to the design process taking the lead in some of these things,” said Thomas.

It was a process of throwing a bunch of stuff at the wall and coming up with the best spaces possible.”

Escape room 2 movie#

“The big thing that we’re saying in this movie is that the game has expanded in the sense that there’s no such thing as free will. “We always like to say Minos likes to create beautiful spaces that kill,” said Robitel. Along with writers Will Honley, Maria Melnik, Daniel Tuch and Oren Uziel and production designer Edward Thomas, Robitel and the crew first determined pairs of locations and threats before shooting each sequence over the course of 6 to 9 days. Shot in Cape Town, South Africa, the sequel required full and partial set builds, lots of props and custom pieces like a miles-long backdrop and 20,000 tons of sand. The film, which is now playing in theaters nationwide, features settings as disparate as a warm New England beach and a bank located in the bowels of New York City.