Edgar Wright Unveils His Bold Take on The Running Man
Director Edgar Wright shares his unique approach to reimagining Stephen King’s dystopian classic The Running Man. Discover how Wright’s vision, starring Glen Powell, brings new relevance and style to the iconic story, blending action, satire, and timely themes.
When it comes to directors who have left a mark on modern cinema, Edgar Wright is a name that often tops the list. His latest project, a fresh adaptation of Stephen King’s legendary sci-fi novel The Running Man, has been one of the most talked-about releases this fall. With Glen Powell stepping into the lead role, the film follows a man thrust into a deadly game show, forced to outwit skilled hunters for 30 days. Critics have already called it a “slick, star-fueled thrill ride.”
Reimagining a Dystopian Future
Wright’s version of The Running Man stands apart from previous adaptations by sidestepping a specific year for its setting. He explains,
“We thought to ourselves in making it that it would be a different tomorrow. Essentially, it was in an alternate 2025. We didn’t put the date on it because I think that a lot of sci-fi films, even great ones, can’t kick the date down the road far enough and eventually it catches up with you.”
Instead, the film imagines a retrofuturistic world, blending advanced technology with analog elements, inspired by how the future might have looked from the perspective of the early 1980s. Wright notes a renewed fascination with analog tech, suggesting that the film’s mix of old and new feels especially timely as society grows wary of constant digital connectivity.
Timely Themes and World-Building
One of the film’s most striking elements is its exploration of AI and deepfakes, issues that have become increasingly relevant. Wright reflects,
“You have a subplot that revolves around AI and deepfakes where you don’t even have to say what it is. It’s just read as this. The only thing that’s surprising to the people in the film is how fast it is and how it’s developing split seconds after something’s happened.”
He admits that the rapid pace of technological change made the story’s dystopian elements feel even closer to reality during production.
Wright also dives deep into world-building, expanding on King’s original vision. He and his team crafted a society marked by stark contrasts, from retrofitted vehicles in the slums to sleek, futuristic cars uptown. The film’s design team created new brands, logos, and even fonts to flesh out a world dominated by a single, all-powerful corporation. Wright says,
“The idea that everything is under the Network umbrella — it was like Amazon owned everything, including the cops. So it was creating the ‘mono-brand’: the one corporation that owned everything.”
Genre, Satire, and Casting
Wright believes that genre films can deliver both entertainment and a powerful message.
“The best of genre cinema is like a Trojan horse. Ostensibly, the horse is like a sci-fi action film, and inside, there’s plenty to chew on for later.”
He points out that King’s novel is rich with satire and dark humor, especially in its critique of television and media. Wright’s adaptation leans into this, blending action with sharp wit and social commentary.
Choosing Glen Powell for the lead role was a deliberate move to set this version apart from the 1987 film. Wright describes Powell’s character as an everyman, drawing inspiration from early performances by Harrison Ford and Bruce Willis.
“He’s a guy who walked in off the street to compete in the games. And Glen gave me almost this sort of spirit of early Harrison Ford performances or even very early Bruce Willis.”
Powell’s portrayal brings both grit and humanity, making the character relatable and grounded.
Stephen King’s Enduring Relevance
Wright sees King’s work as timeless, noting how stories like The Running Man and The Long Walk remain relevant decades after they were written. He credits King’s ability to create relatable worlds and characters, saying,
“One of the things I loved about the Running Man book, and hopefully it’s the same in the film, is that you’re really seeing an action-adventure at ground level. You’re with Ben Richards. You’re seeing it pretty much from his point of view for the entire film and seeing a big, actiony, dystopian, dark adventure on the ground with him.”
Wright’s adaptation aims to capture that same sense of immediacy and connection, offering a fresh take on a classic story.