The Long Walk Stars and Producers Talk Grueling Filming Process & Making Every Death Meaningful

Stephen King’s classic novel, titled “The Long Walk“, has been transformed into a chilling new movie by Lionsgate, leaving critics spellbound with its impressive 96% approval rating. This tale unfolds in a grim dystopian setting where an annual competition called The Long Walk takes place, pitting teenage boys against each other as they must maintain a steady 3 MPH walking pace or face immediate consequences – being shot if they fall behind.

Title “The Long Walk” features Cooper Hoffman portraying character Raymond Garraty (contestant #47) and David Jonsson playing Peter McVries (contestant #23). They are contestants under the authoritative rule of The Major, played by Mark Hamill, in a totalitarian setting.

TopMob had a chat with Garrett Wareing, the actor behind Stebbins in “The Long Walk”, to delve into the demanding filming experience that went into making this film a reality.

During an interview about the challenging filming process of “The Long Walk”, Garrett Wareing, the lead actor, stated that he struggled to find words to express just how tough it was to shoot the movie. By the end of production, he and the rest of the cast were left with calloused, blistered, and bruised bodies. The limps portrayed towards the end of the film were genuine, which lent a sense of authenticity to their performances.

The film was uniquely shot in sequence, an uncommon practice among many productions. Waring referred to this method as a “‘true boon’, allowing him to make decisions a day ahead that could be seamlessly integrated into his ongoing performance as time progressed.

In a recent conversation, Russ Milheim from TopMob interviewed actor Ben Wang (known as Hank Olson in the movie “The Long Walk”), author JT Mollner, and producer Roy Lee. A complete, spoiler-free account of this fascinating chat is available for you to read below.

Theatergoers can catch ‘The Long Walk’ on September 12, 2025. Following this chilling production, Lionsgate is set to release the revamped version of their upcoming horror film titled ‘The Strangers: Chapter 2‘.

The Long Walk Star Garrett Wareing Confirms Production Was As Grueling As It Looked

“I Can’t Accurately Describe How Grueling This Was to Shoot.”

TopMob: “Was this movie as exhausting a film as it looks?”

Garrett Wareing expressed that the shooting process was incredibly challenging to endure. On one particular day, his friend Daymon [Wrightly], who portrayed Rank in the film, experienced discomfort. He removed his shoes and found they were full of blood. It seemed like a blister had burst or something similar.
By the finale of this film, we were all rough-skinned, battered, and wounded. You see, those hobbles near the end? They weren’t pretense; we genuinely felt them at that point. It was a raw, intense experience, but I believe it lent authenticity to our performances. For me personally, acting became more about channeling genuine emotions rather than feigning them on set.

TopMob: “I read that you guys shot this in sequential order, which is very unique for film and television to do that. What was that like? Was that a new experience for you, and how did it help your performance and add authenticity to the character?”

Garrett Wareing: As an actor, it was a real advantage to film scenes in sequence. This way, you can make decisions the day before and seamlessly integrate them into your performance as the shooting progresses.
In a casual, easy-to-understand manner: On one of those days, I developed a limp due to foot pain. I thought, let’s make this limp progressively more pronounced as the story unfolds, since it was convenient for the role. Francis Lawrence granted us the flexibility to make creative decisions, which helped us feel more connected to our characters by allowing us a greater sense of personalization.
It seems that shooting scenes in sequence and having the flexibility to make our own decisions helped us deliver more authentic performances, which is what you see on the screen today.

TopMob: “Stebbins is not the most social, or, you know, open to socializing in general. When this walk starts, can you help paint a picture just of where he is mentally, as we start this event, and who he is before this walk even starts?”

Garrett Wareing: Essentially, Stebbins is an enigmatic figure whose backstory leaves viewers intrigued and guessing. However, the suspense pays off when the truth behind Stebbins’ mystery unfolds, making it a truly captivating moment in the storyline. I believe this scene will be particularly rewarding for the audience.
Stebbins might be acting out of a need to protect himself rather than provoking others. In essence, he seems determined to emerge victorious and achieve his goal, which necessitates the elimination of all other competitors in this race. He’s prepared, strong, and eager to see his wish granted.
It appears that his behavior might indicate a strong caution towards those other boys, as he seems to believe that drawing close could cause him more pain. Yet, despite appearing standoffish, it’s likely that this stems from a deep concern for the wellbeing of others and himself, as he wants to avoid causing harm during bonding experiences. Unfortunately, it seems he must tread this difficult path.
In this scene, music begins, and Stebbins gives a subtle smile, suggesting he finds pleasure in this march despite everyone complaining about it. This could be the initial hint of his humanity emerging, and it’s the start of a growing bond between him and the other boys, which continues to develop throughout the movie.

The full conversation with Garrett Wareing can be seen here:

The Long Walk Star Ben Wang on Filming Chronologically and Building Comraderie

“It Made It Easy For Us to Keep Track of Our Relationships…”

TopMob: “This movie was filmed in chronological order, which is a rare thing. How did that experience add to your own performance and help you realize the character more?”

Ben Wang: It significantly simplified the process. By organizing it chronologically, we no longer had to worry about tracking our character’s fatigue levels, as it wasn’t necessary for you to remember that aspect, correct? Previously, I was concerned that I would need to maintain a 1-100 scale of my character’s exhaustion level to keep track of where I was in the scene or where I needed to be. Thankfully, I didn’t have to engage in any math, and this method also made it easier for us to follow the development and, at times, deterioration of our relationships. Overall, it was a delightful experience.

TopMob: “You obviously play Hank, #46. Before this walk starts, can you paint a picture of just who he is mentally, like, where is he at? Who is he before it all begins, and then, you know, how does that change as he starts this walk?”

Ben Wang: Initially, he seemed optimistic about potentially winning the long walk. However, as the journey neared its end, he came to understand that he wasn’t cut out for that role. This seems to be a pattern for all the participants, I believe. I don’t think any of them embarked on this adventure without a glimmer of hope, or even a considerable belief, that they could win. But eventually, everyone reaches their breaking point during those 400 miles. It’s just when and how long it takes for each person to break, and what causes the breakdown, that varies.

TopMob: “Who was Hank before the walk? What did he do? Not too much of that is in the film. Did you get to kind of think about that on your own, or kind of flesh that out, or was that given to you?”

Ben Wang: Essentially, there are a few key details, but one significant piece of information might be considered a spoiler, similar to a movie reveal. However, apart from that, the most crucial aspects for filming the initial scene with all characters revolve around their attitudes and mental states, as well as how Hank appears to the other boys and his strategic approach. Interestingly, Hank is quite talkative, which seems to be a way he calms himself down, and it’s also why he constantly chews gum.
By rephrasing your text, I aimed to make it more concise and easier to understand while preserving the original meaning.

TopMob: “It sounded like there was a really incredible camaraderie formed between the cast members, kind of much like we see through the film, in that world, through those characters. Can you talk just about that and experiencing those bonds growing both in real time, and having them reflect through the final product as well?”

In my experience, the movie we worked on was incredibly literal. On the very first day, all of us actors gathered together just like our characters did in the film, and then we embarked on a journey. As characters dropped off in the movie, they exited the set until only a few of us remained – much like how friendships and connections grew stronger among us in real life.
The process of these characters developing relationships mirrored our own journeys as actors getting to know one another. We were based in Winnipeg for filming, and outside of work, there wasn’t much to explore except socializing over meals or drinks.
As a cinephile, let me share my experience: It truly felt like embarking on an exciting journey when we were there together. We found ourselves in the heart of Saskatchewan during summer, lodging in circular huts that reminded me of a cozy ski resort. The atmosphere was invigorating and evoked memories of a summer camp.
We experienced something truly adventurous and enjoyable. The camaraderie among us was palpable and the opportunity to work alongside such talented, genuine actors was nothing short of a privilege.

Make sure to watch the full interview with Ben Wang below:

The Long Walk Writer JT Mollner on World Building and Making Each Death Impactful

“It’s Never Any Less Impactful to Lose Somebody.”

TopMob: “The story being told is generally restricted to just this walk itself, on this road. So then, how did you work to kind of world build while being restricted to that one road and what they may pass on the way?”

As both writer and collaborator with Lawrence, Mollner emphasized that their main focus was on the characters and their relationships during production. They wanted to provide subtle glimpses of what was happening beyond the road, but without making it the central point or primary focus, as they believed it could potentially be a distraction.
Francis opted for a daring decision, and instead, we find them here. However, there are just a few flashbacks, which I believe is what gives this film a unique edge compared to his usual style, like ‘The Hunger Games’. This movie feels more intimate and somewhat confined.

Roy Lee: Initially, JT simply aimed to concentrate on the characters, striving to maintain a compact narrative. We believed that introducing external elements might have caused it to become more expansive than necessary, as we wanted the audience to primarily focus on the characters themselves and their relationships. These aspects are crucial to the story, so we decided to suggest the world’s details subtly, allowing viewers to fill in the gaps with their imagination. This way, they could clearly understand the challenges faced by the boys, which was our main objective.

TopMob: “Speaking of the characters themselves, obviously, given the concept, nearly all of them are going to be biting the dust by the end of the film. But just with these characters, how did you work to make sure that no matter when that happened, that each and every one of those deaths was impactful in their own ways, in varying ways throughout this runtime?”

Mollner: Almost every event and death in the film is directly taken from the book, something I found remarkable while reading it. Each death carries its weight and remains impactful, which I believe would be distasteful if we toned it down or avoided it altogether. That’s why I chose to write the screenplay for Francis, as he intended to create a film that didn’t hold back, and I know that was what Stephen King wanted him to do. I was intrigued by the opportunity to pen such a project.
One of my observations is that losing people, even when I’ve experienced it with friends and family, never truly becomes easier. Each time, I think it might be simpler, but it always has an effect on me. In this movie, we aim to portray that the loss of someone is never any less painful.

Lee: Essentially, I believe Stephen King’s fantastic book facilitated JT’s task. This meant that the most challenging aspect for him was essentially summarizing it and merging characters that made logical sense. The primary events, or key moments, were all drawn directly from the book, except for certain alterations that had to be made [for reasons I’d rather not discuss at this moment due to spoilers]. Some of these changes were significant, but I feel that the audience would comprehend why such modifications were necessary.

Lee continued discussing the alterations in the original content, primarily focusing on merging characters and decreasing the number of participants from one hundred to fifty.

Roy Lee expressed that most of the alterations involved merging characters and decreasing the number of contributors from 100 to 50. He found it overwhelming and simply needed to streamline it. So, as JT mentioned, his initial script draft spanned 180 pages which eventually became 95 pages. In essence, this required compressing, compressing, and carefully working with Francis to determine what was essential to maintain and preserve the movie’s equilibrium. It seemed like a continuous process of growth.

The full, spoiler-free conversation with both JT Mollner and Roy Lee can be seen below:

If you love horror, don’t forget to check out all the revealed animatronics in Five Nights at Freddy’s 2.)

2025-09-09 23:18