Glen Powell, naked except for a towel, dangles from a rope eight stories in the air in below-freezing Bulgaria as director Edgar Wright watches from the ground in a parka, sipping an espresso.
It’s February, and they’re sprinting toward the end of production on “The Running Man,” the longest, most expensive and by far coldest shoot of Wright’s career. Days earlier, a blizzard hit the country, blanketing it in snow. Powell, who stars as a game-show contestant in a race to stay alive in Wright’s adaptation of Stephen King’s dystopian novel, had been tracking the frigid weather closely, all too aware of this upcoming scene. In it, his character
→ Continue reading at Variety
