Runner began as more than an adrenaline-fueled action concept. Written by Miles Hubley and Tommy White, the script landed on Hollywood’s prestigious Black List— home to breakout hits like Argo and Slumdog Millionaire — thanks to its fresh take on a throwback action-comedy genre: a ticking-clock thriller infused with heart and humour, centred around a classic odd couple.
“I read this script from Miles and Tommy and really liked the idea of it and the potential for making it into a movie,” says producer Todd Garner (Broken Road Productions). “So, the three of us developed it, and it ended up on the Black List — which is a prestigious thing that happens in Hollywood where really good unproduced scripts are read and voted on by the industry. Runner was one of those scripts.”
With its fresh urgency, propulsive plot, and emotional undercurrent, Runner quickly distinguished itself, attracting an all-star creative team including action heavyweight Alan Ritchson. Mark Fasano (Marlowe) of Nickel City Pictures, Jeffrey Greenstein (The Hitman’s Bodyguard) of A Higher Standard, and Deborah Glover (Sleeping Dogs) of G2 Dispatch rounded out the producing team.
Runner is a road movie under pressure: a courier and his accidental partner have three hours to deliver a human organ across the city, with a dangerous crime syndicate on their heels. But beneath the high-stakes setup is a surprisingly tender story about grief, love and the unexpected bonds we form under pressure.
“Runner is a fun, entertaining movie and it also has very real and grounded stakes,” says Greenstein. “We hope people will not only laugh, love, and enjoy, but will leave the cinema feeling hopeful. It’s about overcoming grief, and love and hope.”
Director Scott Waugh,known for his dynamic action sequences and storytelling, signed on after a call from Greenstein, who he’d worked with on Expendables 4 (2023). He was immediately struck by the script’s dual tone. “What sold it to me was finally a screenplay that I really enjoyed the heart of it,” he says. “It was super funny, but the emotional tone really surprised me. My one word for everybody in this movie is surprise. I hope they’re super surprised at what this movie actually is—because I’m pretty sure it’s not what they were expecting. The comedy is just the spice.”
A high-octane two-hander, Garner felt it was a throwback to the brand of emotionally driven, character-led storytelling that defined classics like Lethal Weapon, 48 Hours, and Midnight Run. Like those classic two-handers, Runner hinges on its mismatched leads: Ritchson as Hank Malone, a no-nonsense ex-Navy SEAL turned courier, and Owen Wilson as Ben Bishop, a by-the-book medical courier caught off-guard.
The duo balance high-stakes action with emotional depth. “We knew that this movie needed to have incredible action, but also at its heart be a movie about two guys that are going through this adventure together, that has a lot of humor and really great performances,” Garner says, “And Scott, because of his stunt background and because he’s been in the business so long and worked with so many talented actors, really understood how to bring that to the table.”
With a storyline revolving around an extremely rare blood type—NH-Null, or “Golden Blood”—Runner also plays with a plausible medical premise and a genuine fight for life or death when the chips aren’t in your favor. The end result is a film that hits hard on every level.
“What I really want people to take away from this movie,” Garner continues, “is they’ve been on a ride. There’s an emotional component, a comedic component, and definitely an excitement component. But I think people are really going to be surprised by how emotional they’re feeling at the end.”
Rewriting the map: how Runner relocated to Queensland
Runner began as a Los Angeles story: a neon-soaked thriller racing through the rain-slicked streets of the Hollywood Hills. But the film’s story shifted as production needs evolved. London and Spain were both considered—and ruled out for logistical reasons. Ultimately, what started in Hollywood found its home in the sun-drenched, high-contrast streets of Brisbane and the Gold Coast, Australia. The filmmakers embraced Queensland, rewriting the script to reflect the unique energy of Brisbane and the Gold Coast.
“When I read the script, it was set in LA at night, in the rain,” says Waugh, who draws on his experience as a stunt actor when reviewing action scripts. “And I giggled and called [the producers]. I said, ‘Are you really set on Los Angeles at night in the rain? Because all three of those sound bad logistically’. And so, we rewrote the script for daytime with no rain. To me it’s really predicated on location.”
Garner, who had previously filmed in Australia, immediately saw potential: “I shot the first two Mortal Kombat films in Australia, so when we were looking for a location, I knew we had to embrace the place we were shooting because it is a car movie—we didn’t want to double it for somewhere else. And since I’ve shot here, I knew a lot of how Australia works.”
“We had to really reverse engineer what’s really going on in the underbelly of Australia,” he explains. “When we decided to come to the Gold Coast, the original concept was to shoot it for London, and I said, ‘I think this story can really placate anywhere, so why don’t we just rewrite it for the Gold Coast and Brisbane?’ For me it was super fun to actually look at locations for its value rather than ‘what are we trying to cheat it as?’”
“We worked really closely with the writers,” Ritchson adds. “They were unbelievable. I would come with a lot of notes, and they’d bring something back and seed more ideas. They were relentless — continuing to build and build. What we’ve ended up shooting is just such a polished, refined, technically perfect film. I’m really proud of the work that we did there.”
Wilson, who was new to filming in Queensland, felt the decision paid off. “To have it just be Australia and use elements of that in the story, which we do, I think made it good,” he said.
Runner is a hybrid action‑comedy‑thriller directed by Scott Waugh, known for kinetic, stunt‑driven filmmaking.
A former soldier (Alan Ritchson) is thrown into a brutal race against time when a critical medical delivery makes him and his unlikely partner (Owen Wilson) the targets of a ruthless cartel. As the mission spirals into a deadly manhunt, every detour, delay, and bullet pushes them closer to failure. With betrayal closing in from every side, they must survive the chase and deliver their cargo to save the life of a little girl.
The screenplay was crafted by Miles Hubley and Tommy White
SCOTT WAUGH – Director
Scott Waugh is an American film director, producer, editor, and former professional stunt performer. Growing up with his father, stuntman Fred Waugh, and older brother Ric Roman Waugh (also a director), Scott immersed himself in the action world early on.
He retired from stunts in 2005, transitioning into filmmaking. In 2012, he co-directed and edited ACT OF VALOR, a gritty war thriller featuring Navy SEALs, which earned him a spot among “10 Directors to Watch” at the Palm Springs International Film Festival. He then helmed the 2014 video-game adaptation NEED FOR SPEED, praised for its dynamic car choreography.
Waugh continued to work behind the camera, directing 6 BELOW: MIRACLE ON THE MOUNTAIN (2017), HIDDEN STRIKE, and EXPEND4BLES (2023). A graduate of the University of California with a B.F.A., he’s recognized for his commitment to practical stunts, tight editing, and raw visual storytelling.
Blending insider stunt knowledge with cinematic flair, Waugh has carved a distinctive niche in action cinema, seamlessly shifting from performer to storyteller.
MILES HUBLEY and TOMMY WHITE – Writers
Miles Hubley and Tommy White have been creative partners since childhood. After careers in
film editing, including the Academy Award-winning documentary, THE COVE, they transitioned to screenwriting. They first came onto the scene with their spec script, THE SHAVE, which was on the Blacklist and is now set up at Range Media with Ric Roman Waugh directing.
RUNNER is their second script to appear on the Blacklist, and their first to be produced. Up next is an adaptation they wrote for SKG called HOUSE OF TIME, which is slated to start production in the fall of 2025.
They have sold multiple other specs and short stories, most notably: an untitled fantasy short story which they are now adapting for Locksmith Animation and Warner Brothers; THE 31st, a published short story sold to Universal with Lord/Miller producing; THERE IS ALSO JOY, a spec script sold to Mandalay Entertainment; THE PRISON BARD, a spec sold to Focus Features; FOLLOW ME, another short story sold to Devisio Pictures with Harris Dickinson attached to produce and star; and most recently, they wrote material for the upcoming CAT IN THE HAT animated feature for Warner Bros Animation.
