We speak to Nick Bassett, production designer for EvilDeadRise, about finding deadly locations, building backstory into bloody rooms, Easter eggs, and more:
Warning: SPOILERS for Evil Dead Rise.Evil Dead Rise, Lee Cronin’s unique take on the iconic horror franchise, is in theaters now and has garnered favorable reviews from fans and critics alike. Evil Dead Rise brings fresh blood to Sam Raimi’s world both literally and figuratively, introducing a number of new characters that Lee Cronin is already hoping to bring back into the fold in one way or another.
If you watch it, like, six months or a year later, it's quite a different experience. You’ve kind of forgotten everything around the making of it. I still think of scenes in Evil Dead Rise as sets within a studio, so I'm very aware of, like, if you open that door, there’s nothing behind it. I think when you wait a little while it and you see it fresh again, after a year or so, you've kind of forgotten all that.
With Evil Dead Rise, it's very contained, but then there's another pressure. The pressure is that the whole film's set in this apartment. It's a different kind of pressure, but it's actually more enjoyable as a filmmaker, I think, without trying to compare shows. Everything with blood is such a messy business. We build everything up off the ground, everything's waterproof, and every material used has to not swell up with moisture. That learning curve, we did on Ash vs. Evil Dead. Once you’ve done a few horrors, you get it. There’s a whole foundation you've got to build.
It took a while, though, to go, “What is the space? What was it?” It was written as a bank vault, but we thought about what's happened since. You create your own logic, I think, your own version of “Who came in here and put this in? Why was it here?” The script is always evolving, too. I'd almost think to read the first draft to go, “Oh, that's right, it evolved.” That’s a great thing; if you're working with creative people, you can start to evolve it a bit.
It's like, “It's not just a room. What was it before? What was the painting before, and what are the layers on the wall?” That’s the fun, really. You’re kind of writing; you’re not writing the script, but you're adding to the script. You keep building these things, and it makes everything more robust.
And we’d go to record companies and local companies; there's so much real stuff in there as well. Then, we built up his whole stereo thing; it's all very retrofitted as well. In choosing the turntable, we wanted something that has a bit of style. It’s a quite rare turntable, actually; it's one thing I wish I'd kept, to be honest.
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