In the icy cold of Bulgaria, Glen Powell endured extreme conditions hanging from a rope eight stories above the ground, clothed only in a towel, while director Edgar Wright observed from below during filming. This intense scene was part of the final days of shooting The Running Man, Wright’s ambitious adaptation of Stephen King’s dystopian novel, capturing a deadly game-show contestant’s desperate fight for survival.
Filming wrapped in February amid brutal winter weather, including a fierce blizzard that blanketed the entire region. Powell, cast as Ben Richards—the protagonist forced into a ruthless countrywide manhunt—had to leap from a hotel window and rappel down a building, facing freezing temperatures in minimal attire. This physical challenge underscored the film’s raw, survivalist tone, reflecting the stakes within King’s imagined 2025 dystopia.
Meticulous Direction Meets Extreme Physical Demands
Edgar Wright, known for his unique style blending genre innovation with dark humor, carefully choreographed the action sequences. His precision was evident as Powell spent thirty minutes suspended on a harness while the camera setup was adjusted, adding to the scene’s tension and realism. Wright aimed to push the limits of endurance, drawing inspiration from Bruce Willis’s barefoot stunts in Die Hard but intensifying the challenge by reducing the character’s clothing.
The shooting also took place in Scotland, where the chill proved even more insidious, with Wright recalling the sensation of losing circulation in his leg amid the cold Glasgow weather. This commitment to authentic, brutal conditions was echoed by Powell, who described enduring long nights outdoors to achieve the desired atmosphere. His dedication was clear from the start. Before production, he promised Wright,
“There’s not going to be an actor who works as hard for you as I will,”
confirming his readiness to risk his body for the project.
Edgar Wright’s Vision Rooted in Stephen King’s Original Dystopia
Wright’s passion for King’s work dates back to his youth in southern England, where he and his brother shared paperback copies of King’s novels such as Night Shift, Salem’s Lot, and It. He regards King’s influence as formative, saying,
“It was a formative experience reading King, because it was my first time reading grown-up material. It’s more than horror; there’s attitude, world-building and humor.”
The 1982 novel, penned long before the rise of social media, eerily forecasts a future where reality television blurs with authoritarian control. Wright’s adaptation revisits this story, distinguishing itself from the 1987 Arnold Schwarzenegger action film by returning closer to King’s darker, complex narrative.
In Wright’s version, the deadly competition—the titular Running Man—offers a $1 billion prize to any contestant surviving a month-long, nationwide pursuit with no second chances, only death. Powell’s Ben Richards is reimagined not as an invincible warrior but as a desperate father willing to risk everything to save his ill child, adding emotional depth to the high-octane thriller.
Practical Challenges and the Quest for Authentic Brutality
Powell explained the grueling nature of the shoot:
“We were shooting in the elements all night, Edgar wanted it to feel brutal.”
The physical rigor of the role demanded exceptional effort, underscoring the film’s commitment to verisimilitude.
Wright’s hands-on directing style and adherence to authentic experiences bring a visceral quality to the project, recalling his early career in cult classics such as Shaun of the Dead. His growing expertise in blending humor, action, and genre elements has earned him a loyal fanbase. Simon Pegg, a longtime collaborator, summarized Wright’s appeal:
“Peter Jackson, Quentin Tarantino and Sam Raimi saw themselves in Edgar. He was encyclopedic about film. That appealed to their own heritage.”
A Career of Bold Choices and Industry Challenges
Though Wright’s unique style has proved commercially successful, he has faced significant obstacles. After the critical and financial disappointment of Scott Pilgrim vs. the World, and a lengthy, ultimately failed eight-year attempt to direct a personalized Ant-Man film for Marvel, Wright’s vision often clashed with mainstream studio demands.
Wright reflected on the Marvel experience:
“The idea of doing it at the time excited me because you want to put your own spin on it. But between pitching the idea and doing it, the whole franchise had blown up. There was a house style. The thing that attracted me about it had gone away.”
Following a return to commercial success with Baby Driver and a pandemic-impacted release of Last Night in Soho, this new film represents a crucial step in Wright’s career, aiming to balance his distinctive approach with the expectations of a global audience.
Anticipation and Uncertainty Ahead of Release
The Running Man is set for release on November 14 by Paramount, debuting amid a challenging climate for R-rated action films targeted at adult viewers. Despite the star power of Glen Powell and the enduring popularity of Stephen King’s name, the $110 million production faces questions about its commercial prospects, especially given its stark political themes and dystopian reflection of contemporary society.
Wright commented on the film’s resonance with current times:
“We’re as close as can be to ‘Running Man’ without people actually dying. I don’t even want to predict when things will take a darker turn. I hope never.”
Exploring Technology’s Role in the Future of Entertainment
The movie also touches on topical concerns about artificial intelligence’s impact on the entertainment industry. Just days before Wright’s Comic-Con appearance, controversy arose around Tilly Norwood, an AI-generated actress gaining traction with talent agents. Wright acknowledged this shift cautiously, stating,
“Obviously, AI is here to stay. There’s no putting the toothpaste back in the tube. But when you see that Tilly Norwood thing, who’s gonna get excited about an actress that doesn’t exist?”
A Triumphant Return to the Big Screen and Fan Celebration
Wright’s recent Comic-Con panel in New York City attracted thousands of enthusiastic fans, marking a dramatic contrast to his first Comic-Con in 2004, when he and Pegg were largely unknown. Wright described the moment:
“We could walk around with nobody having any idea who we were.”
Now an established figure among film enthusiasts, he maintains the spirit of a devoted fan sharing his passion.
After the panel, Wright privately reached out to Stephen King, securing the author’s blessing. King’s emailed approval was enthusiastic:
“Like it? I love it! It’s faithful enough to the book to keep the fans happy, but different enough to make it exciting for me.”
Wright smiled, expressing his satisfaction: “I’ll take that.”
