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Production designer Steve Saklad says that Lord and Miller were clear in their direction: they wanted a realistic design into which they could drop the madness of Schmidt and Jenko. "There was a sense that we had to be honest and not an out-and-out comedy film when it came to presenting the college world," says Saklad. "There was a sense that if these guys are in a real world with recognizable college students around them, the comedy would play much better."

As a result, in creating the college environments, Saklad used sepia-toned images to create a history to the institution - and piled on the gags from there. In naming the on campus buildings, Saklad used names of fonts to create the fictitious Helvetica computer center, Bookman Memorial Library, Garamond Quad, and Clarendon Hall, all based on font names. (Though it should be noted that another building - the Benjamin Hill Center for Film Studies - is the background of a back-and-forth chase that is missing only the familiar strains of "Yakety Sax.")

In a nod to one of the film's running gags - that sequels have to be bigger and more expensive than the first film - the Jump Street team have big, bold new headquarters. Which means, practically speaking, it's out with Korean Jesus at 21 Jump Street and in with Vietnamese Jesus across the street - a front for their new high-tech and ultramodern headquarters.

For the Jump Street unit headquarters, Saklad and his art department team located a neoclassical church in New Orleans that had been abandoned since Hurricane Katrina. After reinforcing and cleaning the building, they transformed it into the Vietnamese church.

In the center of the headquarters is a cube (get it?!) that serves as Captain Dickson's office. "Surrounding Dickson's office was this shimmery, sexy glass and perforated metal, and a series of cubicles and bulletin boards, and task stations," Saklad explains. "It was all lit by elegant LED strips that could go any color of the spectrum. Since the rest of the movie is in college frat halls, grubby attics, and back alleys, we wanted the headquarters to have a 'Wow factor.'"

The film's biggest set piece is the climax, which takes place in the fictional town of Puerto, Mexico.

The sequence was filmed in Puerto Rico, with the beach party filmed on the sand as hundreds of extras danced to the beats of the world-renowned DJ Diplo.

"We got an installation of a stage and graphics, hundreds of screaming students in states of undress, filling the beach with red cups and other vices, spread out all over the beach. It was quite a sight," says Saklad.

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