The intense energy of the first Ready or Not film carries right into its sequel, Ready or Not 2: Here I Come. The story picks up immediately after the terrifying events of the original, with Grace (Samara Weaving) recovering in the hospital after barely surviving a deadly game of hide-and-seek with her sinister, Satan-worshipping in-laws – a family she ultimately destroyed. Soon, her estranged sister Faith (Kathryn Newton) arrives, and the two discover they’re now targets for four other powerful families who want to control a secret, global organization.
The filming of the upcoming movie, Here I Come, is taking place in Toronto, Ontario on May 8, 2025. A scene being shot today features the characters Ursula (played by Sarah Michelle Gellar) and Titus (Shawn Hatosy) getting into a golf cart outside the Liberty Grand Entertainment Complex. During a conversation, Ursula asks Titus when the Council last met, and he replies it was October 1963. They then quickly drive off to search for Grace, who is still wearing her damaged wedding dress, and Faith.
There’s this incredible scene where the two sisters are chained together and absolutely sprinting down a hill, completely out of breath, trying to reach a building for safety. They burst through a door marked ‘Employees Only’ and just keep running. And get this – when the director yelled ‘cut,’ Hugo Weaving told Kate Newton she almost made him lose control! It’s funny because it looks so chaotic on screen, but apparently, everyone was having a blast filming it.
The filmmaking duo behind Radio Silence, Matt Bettinelli-Olpin and Tyler Gillett, recently sat down in their bustling workspace – which also hosts many weddings – to talk about the challenges of making a sequel. They discussed key elements like creating a believable world, raising the tension, and how to follow up a memorable ending from the first film.
ComicBook: What’s the appeal of coming back for another Ready or Not?
Tyler Gillett explained that a major draw for them was working with the same team they’d collaborated with on the first film. Immediately after Ready or Not came out, the group met in Las Vegas to brainstorm the sequel. He feels there’s something special about the time they spend together, and it became clear they wanted to continue working as a team. They had great memories of making the first movie, despite its challenges. Going through a tough experience like that creates a strong bond, and they were eager to recreate that dynamic as often as possible.
Matt Bettinelli-Olpin shared that it was great to reunite with the same crew. They really enjoyed making ‘Ready or Not’ because it was the type of movie they loved as fans—a thrilling, overnight survival story with a strong lead character. He especially praised Samara Weaving’s performance. The biggest challenge, and what made the project exciting, was figuring out how to make a sequel that felt completely fresh and unexpected.
Filmmaking is always challenging, but the darkly comedic and intense energy of ‘Ready or Not’ really came through during production. It was a wild, often chaotic, and surprisingly fun experience. We had a particularly demanding day filming a big fight scene in a ballroom – around 65 different shots – but everyone kept their spirits up and we were all laughing throughout the whole thing.
Bettinelli-Olpin: You feel great at the end of the day, even though your body has given out.
It’s often said that sequels rarely live up to the original. What’s your general approach to making a second film, and how did that influence your work on Ready or Not 2?
We spent a lot of time discussing this, especially successful sequels like Terminator 2, Aliens, and The Godfather Part II – films that really surprised audiences by taking the original story in a new direction. From the beginning, the producers and writers agreed that we couldn’t just try to recreate the first movie. If we simply rehashed old ideas, we’d be setting ourselves up for failure and wouldn’t enjoy the process. We wanted to be bold and different, but still explore similar themes. The key was to take what people loved about the original and present it in a fresh, exciting way – both for the audience and for ourselves – while ensuring the character continued a relatable emotional journey.
Bettinelli-Olpin explained they were aware of how much people loved the first film, and initially considered replicating what worked. However, they quickly realized they couldn’t be too careful or protective of the original. Instead, they deliberately aimed to subvert expectations and even ‘tear apart’ elements of the first movie. This was to create something fresh and unique with its own identity, while still maintaining a similar spirit and energy.
You know, as a movie fan, I totally get what Gillett means. It’s like, yeah, we might explore similar themes or ideas, but we’re aiming for a different feel. It all comes from a place of passion, a love for the art form, and we just want to express that in our own unique way.
You’ve contributed to sequels for both the ‘Scream’ and ‘Ready or Not’ franchises, having worked on two films for each. What are the key differences between creating a sequel for ‘Ready or Not’ compared to ‘Scream’?
That’s a great question. Scream really has a unique feel all its own. When we started working on the series, it already had a strong identity and a loyal fanbase. So, with Scream 6, we focused on how to create our version of a Scream movie – what could we do to bring something new and exciting to the story while staying true to the world of Scream?
Gillett: We had a playbook that we had to follow, to a certain extent.
Bettinelli-Olpin: There were guardrails that we couldn’t go out of. Maybe we did. Who knows?
Gillett: Some fans think we completely changed our strategy, but honestly, they need to relax.
Bettinelli-Olpin didn’t want to discuss specifics, but explained that because they were involved with this project from the start – with the same team of producers, writers, and Samara – they felt a strong sense of creative freedom. They saw it as their project to shape as they pleased, without limitations or restrictions. They felt fully responsible and empowered to take creative risks.
One thing that sets Ready or Not apart from something like Scream, even though they share a similar vibe, is that we’re actively creating a deeper mythology with these films. There’s a fantasy-horror aspect to it, and it’s been great fun expanding the world and hinting at a much larger story. The challenge is to keep that world-building from overshadowing the characters. We’ve really enjoyed developing the history of the Le Domas family, Le Bail, and everything connected to them, and then putting Grace in the middle of another wild situation within that established mythology. It’s been creatively satisfying to explore the larger, unseen story behind the movie’s world.
Could you tell us more about that? We understand a council plays a role in the film. How are you building on the game’s world and lore?
That’s a great question. Gaming isn’t just something that happens in the movie; it’s a core part of what defines the group, the story, and the families involved. There’s definitely an element of fun and entertainment woven throughout.
In the first film, the Le Domas family gained fame and fortune through board games. We’re continuing that idea in this movie by showing that all the families on the council have become wealthy through different kinds of gaming – things like casinos, horse racing, and entertainment. It’s a way to playfully explore various gaming subcultures in a unique and engaging manner. Gaming is a central theme connecting everything.
What game are they actually playing?
Okay, so the directors didn’t really give it a specific title, it’s more of an internal thing for the studio. It’s a really unique process, and honestly, it felt a little like a wild goose chase – you’re constantly looking for the right things to make the movie work!
The recent movies feel very layered and relevant to what’s happening in the world today. Is exploring complex characters and current themes something you intentionally focus on when telling your stories?
Gillett notes that a certain quality consistently appears in their films, even if it’s not intentionally emphasized; it subtly emerges anyway.
Bettinelli-Olpin explained that they strive to create films where the themes are explored through the story itself, rather than being explicitly stated. Building on the first movie, they wanted to avoid simply lecturing the audience about societal issues like wealth inequality. Instead, the goal was to present these ideas organically through the events unfolding on screen and let the story speak for itself.
Gillett: It wears its message on its sleeve. It’s not hiding it.
Bettinelli-Olpin explains the film doesn’t need to explain things directly to the audience. Because it’s a sequel, people already understand the basic ideas and where the story is headed, making it easier to explore those themes in a more subtle and profound way.
Gillett: Extremely visible Trojan Horse.
You know, what I really love about this film is how it constantly balances being funny and scary. As a movie fan, I’m always intrigued when filmmakers try to blend those two feelings. With ‘Ready or Not,’ it just works. I think it’s because the humor isn’t there to undercut the horror, but to heighten it – it makes the whole situation even more tense and ridiculous, and that’s a really clever approach.
Bettinelli-Olpin says their creative process isn’t based on a specific formula, but rather on personal taste. They find that in all their projects, including Ready or Not, they often push things too far – either making them too silly, too violent, or just not quite right. They rely on gut reactions – if something doesn’t feel right, they cut it. Ultimately, they create what they enjoy, and they’re fortunate to consistently work with a team who share their sensibilities. This allows them to experiment and explore ideas, always searching for what excites them all. This exploration naturally leads them to blend horror and comedy, because they see those two genres as deeply connected. They don’t think they could make a purely scary or purely funny film – they thrive on the combination of both.
We steer clear of sensitive topics and focus on creating the most ridiculous scenarios possible. Our approach is to take a silly, low-budget movie idea and treat it with surprising depth, care, and emotion. We aim to make something genuinely wacky that still feels heartfelt and connects with the audience. Essentially, we want to take the dumbest concepts and play them completely straight – that’s where the magic happens. Finding that balance – treating something ridiculous with genuine seriousness – is what we strive for.
The conversations were also excellent. Adam Brody’s performance in Ready or Not stands out – he had fantastic lines and delivered them perfectly, like when he says, “Do you think this is a game…”
It’s crucial to approach this with real skill and care. We constantly check to make sure things stay funny and playful without becoming too over-the-top. Sometimes, a broader approach works, but you have to be cautious. It’s easy to fall into campy territory, so we always try to bring it back to what feels authentic and relatable. I don’t mean to sound pretentious, but we aim for the more refined take. Essentially, something ridiculous can be hilarious if it’s handled with a lot of sophistication – that’s the key balance we’re looking for.
I keep thinking about this movie, Abigail. It’s about a vampire ballerina, and I wonder what it would be like if the characters felt truly real and you genuinely connected with their emotions and love stories.
When you’re making creative choices, do you ever get any resistance from the studio? You mentioned following your own taste, but do they ever ask for changes to make things more broadly appealing? Or, because you have actors like Samara Weaving, Sarah Michelle Gellar, and Shawn Hatosy involved, do they trust your vision and give you free rein?
We’ve been fortunate that people understand our style when they hire us. They generally trust us to deliver it and know that they can always tone things down if needed, but not eliminate the unique, riskier elements that make it interesting. It’s easy to make a film bland by removing anything that feels a little edgy, and we’ve been lucky to work with executives who appreciate the same things we do and allow us to maintain our vision.
What we’ve appreciated most about working with Searchlight Pictures is that their feedback always focuses on the artistic quality of the film – what feels right. It’s a great creative discussion where you can explore different ideas. They never seem motivated by commercial goals like box office numbers. We remember after our first preview screening of Ready or Not, it scored well, but not amazingly high. All the studio executives were thrilled and celebrating, and Matt and I immediately knew we needed to go back and revise the film! They told us it was the highest-scoring preview they’d ever had. Then they shared the story of No Country for Old Men, which initially tested poorly but went on to win many Oscars. That really shows their willingness to trust their instincts. When they believe in a project, they fully support it, and they’ve been incredibly supportive of us.
You know, Bettinelli-Olpin told me that the studio kept emphasizing they chose them specifically because they wanted something genuinely surprising, fun, and exciting – a real breath of fresh air, I guess.
Could you discuss the casting process? What goes into deciding whether to work with actors you’ve collaborated with before, like Kathryn Newton and Kevin Durand? Is it a particularly collaborative and positive experience when you do?
It really is. We’ve been fortunate to collaborate with incredibly talented actors, who are also just genuinely good people. It makes sense to want to work with them again! Whenever a role seems like a good fit, we get enthusiastic and reach out to see if they’re interested in joining us again.
When you work with someone repeatedly, it’s often because you’re curious to see what else they can do. The more you know an actor, the more you start imagining them in different roles or trying new things, and that’s a big reason we enjoy collaborating with the same people – wanting to see them challenge themselves and do something unexpected.
Gillett explained that the best collaborations happen when there’s a strong sense of trust, and people are enthusiastic, saying things like, “Yes, let’s give that a shot together!”
So, you are making Kathryn and Kevin do stuff that they didn’t do in Abigail?
Gillett explained that Kevin and the other person are complete opposites, like two extremes on a pendulum.
Could you share how involved Samara is in shaping her character? It seems like there’s a strong level of trust between everyone working on this.
We relied on Sam a lot. If she didn’t think something felt real, we trusted her judgment. The movie’s tone, even when it got really wild, worked because it felt believable, and Sam was the key to making that happen. She was incredibly valuable in ensuring everything felt authentic.
She deeply understands and cares about her character, which is fantastic. During the script development process, we went through many revisions, and she was consistently insightful about the emotional impact of each scene. With so many details to manage, it was incredibly helpful to have someone so focused on ensuring the character’s emotions felt authentic. It’s a collaborative effort, and it happens constantly – just yesterday, she pointed out lines that, while well-written, didn’t align with her character’s emotional state at that moment, and we adjusted them. It’s an ongoing process, but her dedication and talent are truly valuable.
Bettinelli-Olpin: This one is much more complex and also much more physical.
The new film is far more physically demanding and emotionally layered than the first. The story is simply larger in scope. The actress’s performance has been remarkable in maintaining emotional consistency throughout the film. Shooting hasn’t been straightforward, as we’re filming out of chronological order, which is tricky given the story’s mostly linear timeline. Sam has been exceptional at keeping track of everything and ensuring continuity.
From a storytelling perspective, what impact did it have to have the story continue the very next day? Why was that timing – so soon after the previous events – more effective than waiting a week, a year, or any other length of time?
We were all really thrilled with the idea. The writers, producers, and we talked about how fun it would be to immediately continue the story, rather than waiting and making a typical sequel. We wanted to keep the momentum going and create a seamless continuation, essentially picking up the next day. As creators, and thinking about the audience, that really excited us. It also meant we could continue Grace’s story in a way that felt complete, but still connected. Our approach was similar to how we handled the ‘Scream’ movies – telling a brand new story, but one that also works as a continuation of the first, where the first film’s ending feels like the middle of a larger narrative. It’s not just another chapter; it’s a continuation of the same story.
We love stories that begin with a character at their lowest point, and then throw even more challenges their way. We discussed Die Hard with a Vengeance as a great example – the movie opens with John McClane suffering from a terrible hangover, and immediately being called back into action. It’s a really compelling way to start a film! That idea – taking a character who’s already had a terrible experience and not letting it end – felt perfect for launching this sequel. It’s a very exciting starting point.
There’s a lot of new backstory and lore being added, and it seems like this story might continue. We’re wondering how much of it is just hidden details for fans to find, or if it’s building towards something bigger and a larger world.
We really push ourselves to deliver the best possible work, like we did with Scream 6, and we’re doing the same now. We’re not focused on a potential third film – just on making this one amazing. You never know what might happen; nobody expected us to make a sequel to Ready or Not.
Gillett: It was never designed with that in mind.
Bettinelli-Olpin said their focus is on making this project a complete and satisfying experience. They’re not thinking about potential sequels right now; they’ll worry about those if they happen later.
The original film had a wildly unpredictable ending. It’s tough to recapture that same intense energy for the final battle in a sequel, especially while also delivering something fresh and equally impactful.
Bettinelli-Olpin: It’s a huge challenge.
Gillett: And we haven’t shot it yet. It might be an even bigger challenge.
We spent a lot of time discussing the story, especially the ending. The first film, Ready or Not, is known for its strong conclusion, and we wanted to deliver something equally satisfying but different this time around. We’ve put a lot of effort into crafting an ending that we believe is even more compelling. It will still have the fun and chaotic energy people expect, but with more depth. We’re eager to start filming! It’s important to us that the movie takes unexpected turns and builds to a truly wild climax. That’s something we always strive for in our films – they don’t just fade out, they really build to a powerful finish, and this one is designed to do just that.
Your mantra is almost, “Go crazy or go home.”
Gillett: We want everyone to really enjoy themselves. And if we can also create something emotionally impactful and unexpected, that’s a huge success for us.
Is it possible to create even more over-the-top effects than exploding people with huge sprays of blood? Aside from that, is there anything else you’re particularly enthusiastic about?
Gillett: Guess we will see.
You are saying nothing. You are giving us nothing.
We’re keeping the ending under wraps for now, but we’re really pleased with how it turned out. Throughout the filmmaking process, we kept reminding ourselves that if something felt familiar, we needed to present it in a surprising and unexpected way – and that definitely applies to the finale.
Grace and Faith are sisters. This story explores their relationship – how it is now, and how it compares to their past experiences.
For us, maintaining a consistent character arc is really important. We wanted to explore how a character deals with a traumatic experience in real-time, showing their internal process. We looked to Terminator 2 and Sarah Connor as inspiration – she’s seen something unbelievable, yet she’s incredibly relatable because the audience experiences it with her. We’re building on that idea with this character, who has gone through something terrible, but it’s so extraordinary that it’s hard to accept until you’ve lived it yourself. The dynamic between the sisters in this movie really lets us play with that concept.
Besides the sequels we discussed, we were also inspired by films like Thelma & Louise, Butch Cassidy and the Sundance Kid, and Midnight Run. We consider those to be flawless movies because they’re incredibly rewatchable, largely due to their strong characters and relationships. When working on Abigail, we were particularly excited about the potential of pairing Kathryn Newton and Samara Weaving, who we greatly admire both as people and as actors. That idea – how to bring them together – was a major starting point for this film. Ultimately, we hope the connection between their characters is what resonates most with audiences.
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