SQUID GAME PRODUCTION
WE PAID close attention to details WHILE REVIEWING THE filmed footage ”
BOLD CHOICES Season 2 kept many of the first instalment’s motifs, but expanded the palette
set to feel intensely real, capturing both urgency and fear.”
show maintained a cohesive style. “I had the most discussions with the cinematographer and lighting director,” she recalls. “Since we had to create real spaces, the scale was massive. Lighting had to feel as if it had been installed by the masterminds of Squid Game, so lots of thought went into that.” Chae also worked with the VFX team to understand how the sets would ultimately look in post and adjust accordingly. “We anticipated results in advance by running numerous simulations,” she says. Chae also kept in regular contact with the costume and makeup departments, since each character’s look needed to shift slightly as the season progressed. “We paid close attention to details while reviewing filmed footage,” she shares. “In Cho Hyun-ju’s case, their makeup had to gradually wear off and their hair needed
to be increasingly dishevelled. Similarly, we had to carefully depict the amount of blood on Gi-hun as the story unfolded. This required constant coordination.” GOOD OLD-FASHIONED FUN Squid Game expertly bridges childlike innocence and adult anxieties; each game manages to tap into both mindsets. “For Season 2, we focused more on the types of games played, how the characters reacted within them and the relationships between players,” Chae details. “For example, the pentathlon was designed to capture the essence of Korean elementary school sports day.” Chae describes the annual event: “Unlike competitive games where players attack each other or directly compete, sports days emphasised teamwork and unity. There was a strange phenomenon – regardless of which team you were on, participants would cheer for each other with genuine enthusiasm. Success was impossible alone – only by working together could you cross the finish line.” This sentiment is also apparent in Squid Game , where natural bonds form between certain players, yet this raises the stakes for all involved. Chae wanted the sets to demonstrate this tension. She claims the Mingle set was ‘a favourite among the cast and crew’. “It was designed using vibrant bulbs and colourful doors to create a dazzling, yet eerie atmosphere resembling fireworks. Since the entire group of participants had to physically climb onto it and move around while playing, we wanted the
THE MIND BEHIND THE MASK Seasons 1 and 2 are both full of cultural references, from MC Escher’s surrealist works to the show’s logo, which contains shapes from the real game Squid. “We wanted to create an environment of infinite staircases – a never-ending loop with no clear beginning or end – to evoke a sense of entrapment. It was extremely challenging to physically construct this and, at times, we ourselves even got lost or struggled to find the exit,” Chae laughs. “We aimed to include as many layers as possible, so the participants would appear like tiny ants, emphasising the idea that the masterminds behind the game were manipulating them like toys.” Season 2 includes more of the Front Man, the series’ main antagonist and head of Squid Game. Chae wanted the set to reflect his psyche. “What’s his perspective on humanity?” she asked herself. “If he had a wife and child, surely he would have been to an amusement park, creating happy memories together. And yet, he is the designer of this space: this brutal and merciless game arena.” Reflecting on her Squid Game tenure, which spans all three seasons, Chae feels ‘immense gratitude’ towards the whole team who made it happen. “They truly deserve endless applause,” she enthuses. “It makes me incredibly happy to share my designs with viewers and fans around the world once again,” she beams, before adding, “but my personal favourite set will actually appear in Season 3!” Squid Game Seasons 1 and 2 are now streaming on Netflix
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