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Glen Powell’s Dark Transformation for The Running Man

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Over the past few years, Glen Powell has charmed audiences as the self-assured Hangman in “Top Gun: Maverick” and the cowboy Tyler Owels in “Twisters,” exuding a smooth persona and a radiant, infectious grin. However, this year, viewers will see a stark change in his acting style as he portrays Ben Richards in director Edgar Wright’s reimagining of Stephen King’s “The Running Man.” Unlike his previous roles, Richards is a troubled man who becomes a fugitive to support his family. On set, Wright nicknamed Powell’s character “Bad Mood Glen” to reflect this new, more serious demeanor.

This week’s The King Beat highlights Glen Powell’s significant change, with his talk about ‘The Running Man’ joining an exciting sneak peek of Mike Flanagan’s ‘The Life Of Chuck’, which premiered last fall to tremendous acclaim and is scheduled for cinematic release this summer. There’s plenty to explore, so let’s dive right in!

Glen Powell Discusses The Importance Of Practical Stunts In The Making Of The Running Man And Embracing Bad Mood Glen

Glen Powell recently talked about “Gloomy Glen” earlier this month during CinemaCon in Las Vegas. He was part of a panel discussion that also included Josh Brolin, Colman Domingo, and Edgar Wright, which took place during a luncheon for convention participants. This conversation happened directly after the Paramount Pictures presentation at The Colosseum at Caesar’s Palace, where they unveiled exclusive footage from The Running Man for the first time.

In contrast to the 1987 movie titled similarly, the forthcoming Stephen King adaptation was initiated due to Edgar Wright’s eagerness for a truer representation of the book. Notably, this new version will avoid making the character Ben Richards resemble Arnold Schwarzenegger with his frequent one-liners (aside: I believe that The Running Man boasts some of Schwarzenegger’s best movie quips). Instead, Richards is depicted as a hero with an attitude problem. In fact, it was during the conversation about the character’s behavior that Wright earned his three-word nickname, as Powell disclosed.

In my own words, Edgar refers to the location as ‘Glen of Grumpy Feelings.’ To enhance the somber atmosphere a bit more, I felt it necessary. Frankly, I couldn’t maintain such excessive joy and brightness on this film set. However, we certainly had a great time. Ben Richards was an enjoyable character to portray.

Initially penned under the pen name Richard Bachman by Stephen King, “The Running Man” presents a grim narrative. The story revolves around a man who, in an attempt to improve the lives of his starving wife and sick child, participates in a reality TV show where he must essentially choose suicide. As a contestant on “The Running Man” game show, Ben Richards accrues more funds for his family by successfully eluding the show’s team of skilled hunters for as long as possible. However, the story does not offer a happy ending with him surviving to live contentedly with his loved ones.

Richard endured intense struggles during the process of staying alive, while Glen Powell’s familiarity with Edgar Wright’s filmmaking style led him to put considerable effort into his preparation for the role. Notably, The Running Man incorporates visual effects (a common feature in modern major studio productions), but Edgar Wright is a director who appreciates the importance of practical effects and capturing authentic moments on-set. Powell felt driven to rise to the occasion, yet he admitted that he still felt under-prepared for the task at hand.

As a long-time admirer, I’ve always dreamed of collaborating with Edgar, but what sets him apart is his knack for achieving so much on-set without relying heavily on visual effects. Of course, the film boasts impressive VFX, yet a significant portion is practical. Given the abundance of physical stunts in this project, I geared up mentally and physically to absorb some impacts, which I referred to as getting “bulletproof” shape. However, I underestimated the challenges we’d face on this production.

In the screening of “The Running Man”, there was an abundance of thrilling scenes, such as a battle on board a flying aircraft and a sequence where Richards suffered a harsh landing into a sewer network. Inspired by his training at Tom Cruise’s Film School (for “Top Gun: Maverick”), Glen Powell was eager to execute as many stunts as possible, understanding that viewers can sense and appreciate the authenticity. Whether intentionally or not, film viewers are attuned to the “special effects”, and focusing on practical techniques can significantly enhance a movie’s influence. Powell further explained…

This method excels because when viewers witness genuine peril or action, such as falls or explosions, they become emotionally involved. In other words, when the stakes are high and the experiences are authentic, the audience becomes more invested. Consequently, I take great pride in contributing to films that prioritize the audience’s experience, ensuring they feel immersed, and it seems we’ve achieved this significantly with our current project.

Regrettably, for those not attending CinemaCon, your first glimpse of the movie “The Running Man” has to hold on a bit longer. The film won’t hit theaters until November 7, and Paramount Pictures isn’t quite ready to launch the promotional activities just yet. However, there’s some exciting news for Stephen King enthusiasts! Two feature adaptations are scheduled for release before then, offering a taster. First, “The Long Walk” directed by Francis Lawrence will stride onto the big screen on September 12, and prior to that, another one is planned…

The Life Of Chuck Trailer Fills One’s Heart With All Kinds Of Wonderful Emotions

2025 will bring a majority of Stephen King adaptations with a particularly grim tone. I’ve already underscored the bleakness in The Running Man; Osgood Perkins’ The Monkey centers around the unavoidable theme of loss; The Long Walk might as well be titled Death March: The Movie; IT: Welcome To Derry revisits the terror that is Pennywise The Dancing Clown; and The Institute revolves around a group of children who are abducted by a covert government facility.

In my perspective, “The Life of Chuck” carries an entirely distinct vibe, and the sense of warmth that floods me while merely glancing at the brief trailer above is truly extraordinary.

Similar to how the Stephen King novella serving as its source material proves difficult, if not impossible, to adapt for a film, The Life Of Chuck isn’t an easy movie to pitch through a trailer. However, I must commend the effort that went into this trailer, as it does an exceptional job of encapsulating the film’s ambiance and the profound message conveyed by its narrative. The dialogue between stars Mark Hamill and Kate Siegel about glimpsing the future and the worlds within us is as captivating as the scenes showcasing radiant skies and exuberant dancing.

It’s hard not to notice the unique structure of this trailer for “Life Of Chuck”. Without knowing the source material, one might initially think it’s a typical coming-of-age story following the life of the main character from childhood to adulthood. However, this assumption would be incorrect. Instead, director Mike Flanagan presents the story in a way similar to how it was published in Stephen King’s 2020 collection “If It Bleeds”. The narrative is divided into three separate chapters that unfold in reverse chronological order, rather than following a traditional linear timeline.

The trailer highlights significant aspects of Chuck’s early life, but it’s the latter part of the movie that delves into his childhood experiences and his unexpected passion for dance. Initially, the narrative revolves around a teacher (Chiwetel Ejiofor) navigating a world on the brink of collapse, becoming captivated by recurring advertisements featuring a man with glasses and the phrase, “Charles Krantz, 39 Years! Thanks, Chuck!” This intriguing billboard message is a central focus in the film’s opening act.

In the second part of the story, the paths of three individuals serendipitously intertwine – one of these people being Charles Krantz, portrayed by Tom Hiddleston. An intriguing energy is created when Charles encounters a street musician (Taylor Gordon), who’s drumming on a set in the town square, and he begins an impromptu dance with a captivating stranger (Annalise Basso).

The closing scene ties up all the loose ends by incorporating Chuck’s past, which can be encapsulated in the words of Walt Whitman: “I am large, I contain multitudes.

Chuck’s Life left spectators astounded when it debuted without a distributor during the Toronto International Film Festival last autumn, yet its powerful impact resulted in Neon securing it. The film is now slated for release in June. It offers a life-affirming cinematic journey that’s not to be missed by movie enthusiasts – not only Stephen King and Mike Flanagan fans, but cinema lovers in general.

This concludes this week’s installment of The King Beat. For all Stephen King enthusiasts seeking the latest news and perspectives, don’t forget to visit TopMob each Thursday for a new article showcasing the most significant stories from the previous week.

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2025-04-17 21:45

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