Finnish virtuoso Renny Harlin has been a trailblazer in the realm of big-budget action cinema in the U.S. since the late 1980s. He first came into the limelight with hits like A Nightmare on Elm Street 4: The Dream Warriors and Die Hard 2: Die Harder. His filmography boasts of blockbuster titles like Cliffhanger, The Long Kiss Goodnight, and Deep Blue Sea. While working on his latest venture, Driven, an auto-racing film with Sylvester Stallone as the lead, Harlin shared his perspectives on ideating action scenes, their execution, and his aspiration to explore other genres.
MovieMaker (MM): How do you decide on your film projects, especially your affinity for action movies?
Renny Harlin (RH): Entering the world of filmmaking was my ultimate aspiration. Action movies always fascinated me – they were thrilling, riveting, and posed a challenge. It felt like an expansive playground filled with myriad toys. This genre allowed me to channel my creativity and visualization skills to captivate audiences. Driven is a culmination of my childhood passion for racing. Sly and I, sharing a camaraderie, once envisioned a film capturing the essence of Formula One racing, and here we are.
MM: Did you face challenges positioning Driven beyond a regular car-chase narrative?
RH: Indeed. But we highlighted two aspects: It diverges from the typical Stallone movie by focusing on the dynamics among four ambitious racers. And there hasn’t been a race-themed film as compelling as Grand Prix. With advanced digital tools at our disposal, we aim to deliver a novel experience, making viewers feel the adrenaline of racing at 240 mph. Every day on set reignites my passion, and the footage so far has been exhilarating.
MM: When you’re conceptualizing, at what stage do you incorporate action sequences into the script?
RH: Rarely have I come across scripts detailing the exact visual representation of action. During the initial phases of pre-production, I rely on storyboards, miniatures, and exploratory camera angles. In Driven, my aim is to offer an immersive experience through a unique camera perspective, akin to a bird trailing the cars, providing viewers a firsthand feel of the race rather than a distant observation.
MM: Could you walk us through your creative process when crafting an iconic action shot?
RH: Let’s consider a sequence where two racers vie for victory, with one emerging triumphant by a whisker. I’d position the camera at asphalt level on a crane in the middle of the track. As the cars zoom past, the camera would rise, capturing the action from above. At the climax, I’d employ digital rendering to simulate extreme slow motion, showcasing minute details – tire smoke, vehicular responses to gravitational pull – thus accentuating the nail-biting finish.
MM: How has it been directing a seasoned actor and director like Sylvester Stallone?
RH: My key instruction to Sly is to forgo his signature Rambo-esque demeanor. I want him to embrace his character’s vulnerability and complexities. In Driven, he portrays someone grappling with past failures, realizing that life’s race isn’t just about winning but finding purpose and battling inner demons.
MM: Having helmed numerous action blockbusters, do you ever yearn to direct a more intimate, different-genre film?
RH: Absolutely. I’d cherish an opportunity to direct a story-driven, character-centric film without the typical explosions and special effects. Cameron Crowe’s films make me wish for such a chance. Sly often wonders how I’d forgo big-ticket films. But, it’s essential for me to introspect – to understand my true calling and legacy. Perhaps, in the future, I’ll find a harmonious blend of both worlds.