Pulling the Curtain Back on Edgar Wright's 'The Running Man'

Imagine being eight stories high, clad in nothing but a towel, and suspended in an icy Bulgarian gust. This was actor Glen Powell's reality on the set of "The Running Man," directed by the iconic Edgar Wright. February in Bulgaria is cold, and this production was Wright’s longest, priciest, and chilliest gig yet. Powell, starring as a game-show contestant with his life on the line in Wright's rendition of Stephen King’s dystopian novel, knew all too well about the icy hardship set to greet him in this scene.

“Shivering in rags may be torturous, but it’s all worth it for movie magic,” muses Powell.

Wright, no stranger to outlandish script choices - remember “Hot Fuzz” and “Baby Driver”? - does not skimp on the development of action sequences. His camera clung onto Powell, who dangled on a harness for half an hour in subzero temperatures while adjustments were being made.

Eight months later, we catch up with Wright in New York City, enveloped in a fall warmth that couldn't be more strikingly different from the frosty Bulgarian climate. Wright is now barricaded in a sanctuary amidst the cacophony of New York Comic-Con, armed with pastries and bottled water to survive the pop culture-themed pandemonium.

Wright's adaptation pulls from Stephen King's 1982 action-adventure narrative, situated in a 2025 reality. The unsettling parallels to our current uncertainties offer Wright an artistic playground to splash his unique creative colors onto a treasured classic. His iteration transports us to a world marinated in dread, where the "The Running Man," America's most watched show, emits a grim premise – survive a month-long nationwide pursuit to win a billion dollars, or meet a grim end.

“We braved the brutal elements all night,” Powell adds. “Edgar wanted it to have the feel of a dire reality show.”

Since his adolescent infatuation with King’s ‘grown-up material,’ Wright has held a fascination for the renowned author’s work. From “Night Shift” to “Salem’s Lot” and “It,” Wright flipped through their spine-cracked, dog-eared pages, absorbing them as formative experiences.

Wright’s interpretation is not a straight-up remake of the original movie helmed by Paul Michael Glaser. “This is a retake,” clarifies Wright, “Similar to how ‘A Fistful of Dollars’ reinterpreted ‘Yojimbo’ or David Cronenberg’s ‘The Fly’ refreshed the ’50s film. It’s amusing how two adaptations sourced from the same material can be so different.”

Wright's journey from low-budget masterpieces like “Shaun of the Dead” to bigger projects has turned him into a household name in the film community. But his eccentricity has occasionally clashed with conventional Hollywood agendas. This manifested in unexpected outcomes for projects like “Scott Pilgrim vs. the World”, and his unforeseen exit from the Marvel Universe’s “Ant-Man.” Wright, however, managed to recoup with the 2017 blockbuster “Baby Driver.”

“The Running Man” presents Wright's triumphant return to cinemas, boasting Wright’s distinctive flair and a massive budget. Still, the film represents a gamble. It has to compete with audience's fluctuating taste for adult action films and navigate the tumultuous landscape of current-day politics portrayed within the movie. Wright candidly admits, “I don't even want to think about the possibility of darker turns in our reality.”

Wright's latest project dives into profound AI conversations stirring curiosity and unease in cinematic circles. Wright, though, seems to approach this advancement with skepticism, questioning what makes AI characters appealing to the audience.

Wright's excitement for "The Running Man" is admittedly infectious and it's clear he's still a fan at heart. His crowning moment includes the praise-filled message he received from none other than Stephen King himself. "Interestingly enough, even as he's making headlines, Wright's still that thoughtful, polite, guy wanting nothing more than to elate and surprise his fans," Wright concludes with a radiant grin. “I couldn’t ask for more.”