Todd VanDerWerff: When you were working on the screenplay for this, what was your window into this material? It's such a complicated story to tell.Īdam McKay attends the 27th annual Palm Springs International Film Festival awards gala.
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On figuring out how to tell this story: "For the most part, gloss over the details of what's going on" This interview has been lightly edited for length and clarity. McKay got on the phone with me recently to talk about why a movie like this needed to be a comedy on some level, how to explain the financial crisis to an audience without boring them, and what he's most surprised hasn't changed since 2008. And it's become an Oscar frontrunner, having landed major nominations at the Screen Actors Guild Awards, Critics Choice Awards, and the Golden Globes. It's a deceptively uplifting tale about the end of the world. He took Michael Lewis's book about the men who saw the collapse coming, tossed in a few rounds of solid jokes, and added an underdog movie sheen to it.
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So maybe McKay was the perfect director to make The Big Short. (Its central story is a symbolic retelling of the collapse.) The Other Guys, meanwhile, actually tackles the financial crisis - albeit in incredibly oblique fashion.
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Anchorman, for instance, has a surprising amount of wisdom about the problems with media messaging, and its sequel takes on the rise of cable news.
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ĭig slightly deeper, though, and all these films have nascent political messages buried inside them somewhere. At first glance, McKay is a director of pitch-perfect goofy comedies about man-children, films like Anchorman and Step Brothers and The Other Guys. The previous films of director and screenwriter Adam McKay would not necessarily suggest he would be the perfect person to make The Big Short, a film about the 2008 financial crisis.