Balancing Brutality and Tenderness: An Exclusive Interview with Nick Rowland, Director of She Rides Shotgun

      In a genre where it’s easy to overlook character development, director Nick Rowland is creating action films that are more thoughtful and emotionally resonant. While watching his second feature, *She Rides Shotgun*, starring Taron Egerton and newcomer Ana Sophia Heger as a father and daughter in conflict with an Aryan gang due to past actions, I was reminded of *Calm with Horses*, an Irish crime thriller featuring Cosmo Jarvis and Barry Keoghan that delves into themes of fatherhood, violence, and underlying vulnerability.

      Before I began my review, I was unaware that both films were directed by the same person. This is a significant compliment as it highlights a filmmaker's distinctive voice present across diverse stories and styles.

      Based on Jordan Harper’s novel and adapted from a script by Ben Collins and Luke Piotrowski, Nick Rowland cleverly presents much of the story through the eyes of young Polly, portrayed by Ana Sophia Heger in a remarkable debut performance that few child actors could achieve. Taron Egerton plays Nate, a man recently released from prison who is committed to protecting the daughter he has yet to know.

      What sets this film apart is Nick's focus on allowing smaller, quieter moments to resonate, creating space for bonding and for Polly to navigate her complex feelings about her father. There's no intention to pass judgment on Nate’s past, avoiding a cliched redemption storyline. It’s a film that blends thoughtfulness, violence, and emotional depth, often within the same scene. I firmly believe this is one of the best films of the year and certainly ranks in the top three for action movies. Enjoy my interview with director Nick Rowland below:

      I thoroughly enjoyed the film! Two early scenes indicated that I would: the first being the hair-dyeing moment, which is beautifully performed and shows that character development is as significant as the action; the second is the initial bathroom fight scene, which clearly reveals that we’ll witness most of the violence from Polly’s viewpoint. Ana Sophia Heger shines in her role. Could you share how you guided her during those scenes?

      Thank you very much! I love both of those scenes. We had to work efficiently to track their character arcs and establish their relationship. We only had a few scenes at the beginning, where you’re uncertain if Nate is good or bad, or if he is the hero or an antagonist. Transitioning from that tension to genuine love a few scenes later required a lot from both Taron and Ana. Their chemistry was authentic, and their trust in each other was real.

      As a director, even with just 25 days to shoot, it was crucial to create moments of genuine connection. This meant entering scenes without a preconceived notion of right or wrong, but instead exploring the scene with confident curiosity, seeking moments of truth rather than pinpointing a single focus. The haircut scene exemplifies that fluidity; we aimed to establish a safe environment for them to explore.

      Conversely, the fight scene you mentioned in the bathroom was nearly the opposite. It was meticulously planned, with a strong emphasis on health and safety. We had to film it in a way that ensured Ana’s protection, given that she was only ten during production. While she exhibited remarkable emotional maturity and courage, we had to limit her exposure to certain elements.

      So we have two contrasting scenes: one that felt free and exploratory, while the other was precise, as we needed to be efficient with our shooting schedule, especially since stunts can be time-consuming. My goal was to ensure that action sequences felt consistent with the film's overall tone and narrative. I'm glad it was clear to you that we remained grounded in Polly’s perspective throughout the story.

      You’ve highlighted several points I want to address. This marks a different kind of action role for Taron Egerton, who excels here. As you mentioned, this film feels much more grounded than something like *Kingsman* and avoids the silliness of a film like *Carry On*. What about him made you confident that he was suitable for this role, which requires both violence and emotional depth?

      He’s an extraordinary actor, capable of conveying both brutality and tenderness simultaneously. His performance here is fantastic, stripped of any vanity. He exhibited such vibrant energy, focusing on being present and attentive with Ana. He has become a close friend, and we’re eager to collaborate on more projects together because working with someone creatively aligned is fantastic. It all fell into place easily: we met in the summer of 2023, clicked instantly, had lunch, and quickly decided we wanted to collaborate on this film.

      It’s interesting casting Taron, who was 34 when we made the film, to play a young father. He portrays a young man who has just spent six years in prison and is unfamiliar with fatherhood. So initially, he behaves more like an older brother than a father. Witnessing his journey to understand fatherhood, especially as time runs out for him, is