After an unexpected family tragedy, three generations of the Deetz family reunite in Winter River for the long-awaited sequel, Beetlejuice Beetlejuice. Join us as we delve into the remarkable Deetz house and the surreal Afterlife – all striking manifestations of Tim Burton’s inimitable vision, brought to life by production designer Mark Scruton.

Thirty-six years after the original 1988 cult classic, Michael Keaton reprises his iconic role as the mischievous Beetlejuice. Winona Ryder returns as Lydia Deetz, alongside Catherine O’Hara as Delia Deetz, with new cast members Jenna Ortega as Lydia’s daughter Astrid, Justin Theroux, Monica Bellucci, Arthur Conti, and Willem Dafoe.

Still haunted by Beetlejuice, Lydia’s life is thrown into disarray when her rebellious teenage daughter stumbles upon the mysterious model of the town in the attic, accidentally reopening the portal to the Afterlife. Chaos unfolds in both realms, and it’s only a matter of time before someone utters that name three times, unleashing the demon’s unique brand of mayhem.

Tim Burton and Mark Scruton: A Creative Partnership

Production designer Mark Scruton, who previously worked with Burton on Wednesday and Miss Peregrine’s Home for Peculiar Children, describes the director’s collaborative approach:

“He’s great to work with. I think we’ve got the measure of each other now. He lets me explore ideas and always steers rather than dictates. He has such a unique and singular vision.”

The Evolution of the Deetz House

Set in the fictional town of Winter River, the Deetz house is a star in its own right. With its commanding hilltop location, the house nods to Psycho in its tower-like structure. Mark Scruton told Film and Furniture:

“There was no question the Deetz house had to feature in this sequel – it’s central to the films’ identity.”

The house has undergone numerous transformations, reflecting how new owners leave their mark. In the 1988 film, Adam and Barbara Maitland (Alec Baldwin and Geena Davis) own a quaint, floral-filled home. After their untimely demise, the Deetz family moves in, with Delia Deetz transforming it into a postmodern showpiece. The exaggerated irony of its design echoes Jacques Tati’s playful commentary on modernism in Mon Oncle.

Notable design details from the 1988 film include the dining room (where the film’s famous Day-O – The Banana Boat Song scene takes place) with its metal chairs with stretched animal-skins (reminiscent of Elizabeth Garouste and Mattia Bonetti’s 1981 Barbarian chair) and the speckled table and surfaces inspired by Ettore Sottsass’ Memphis movement. Lydia’s bedroom boasts moody mauve walls, a green floor, and a vibrant yellow dresser – a vivid contrast to the cobalt blue kitchen and the curvy red bar in the living room.

A New Chapter for the Deetz Home

For Beetlejuice Beetlejuice, Scruton and his team rebuilt the Deetz house from scratch on the original filming location in East Corinth, Vermont:

“We flew to Vermont and found the hill where the house had been. Everything felt the same. Tim came out, and we knew – we had to rebuild it, bridge and all.”

The Deetz house in Beetlejuice 2 reflects Delia’s evolution. Gone is the ostentatious postmodernism, replaced with high-end decor details a touch of art deco elegance.

The dining room features muted greys and golds, a glass-topped table with curved edges, and upholstered chairs matched with a mid-century-style sideboard. The fittings are sophisticated and refined, with Apparatus’ Reprise pendant lights and matching globe Reprise table lamps lending a sense of ethereal orbs. Scruton explains:

“We wanted these spheres to feel like spirit globes, hinting at Delia’s connection to the supernatural.”

Other standouts include a striking wall mirror composed of multiple square plates (one very similar was sold by Lots Road Auctions recently for £400) and Delia’s spherical-themed Memphis-esque chair, used in a grief-stricken art performance.

The film’s “real world” features muted tones with occasional pops of red—such as the pair of Adirondack chairs set against the black-veiled house, or Astrid’s bike ride through a vibrant red barn, which offers a striking contrast to the subdued palette.

 

The Afterlife: Distorted and Delightful

The Afterlife sequences in Beetlejuice Beetlejuice are a feast of distortion, chequerboard flooring, and jagged angles – a blend of Escher-like illusions, German Expressionism, and Burton’s signature whimsy. Scruton recalls the challenges of designing the tilted sets:

“Nothing was straight. Even the dance floor in the Soul Train-inspired scene was entirely slanted! People were totally confused when they walked in thinking it was sloping up and actually it wasn’t at all! The dancers rose to the challenge, and it added to the surreal atmosphere.”

Silver tones dominate the Afterlife, with metallic walls enhancing its otherworldly feel. Key locations include:

The Waiting Room: Scruton recreated this world with reference to the original film’s sketches. The chair Tim Burton posed in for publicity photos was sourced second-hand for £10 by Set Decorator David Morison and upholstered in leather. The waiting room is enhanced with several vintage table lamps.

The Boiler Room: A grimly bureaucratic hub featuring rows of metal filing cabinets and sixteen matching desks with red banker’s lamps.

Wolf Jackson’s Office: Accessible only through a brick wall, it embodies Burton’s penchant for eccentricity.

The Train to the Afterlife: A vintage locomotive with a redesigned front and bespoke graphic adverts.

Back in Winter River

Jeremy’s bedroom, meanwhile, is a nostalgic nod to 1990s teenage bedrooms, adorned with music paraphernalia.

 

Stay tuned for an exclusive video interview with production designer Mark Scruton, where he delves deeper into the making of Beetlejuice Beetlejuice – coming soon!