Volts podcast: "Don't Look Up" director Adam McKay on the challenges of making movies about climate change

In this episode, writer and director Adam McKay reflects on the critical and audience reaction to his movie Don’t Look Up. We also talk about making an emotional connection to climate change, some of the other climate-related projects he’s working on (or at least thinking about), and why he ended the movie the way he did.

Full transcript of Volts podcast featuring Adam McKay, January 12, 2022

(PDF version)

David Roberts:

The film Don’t Look Up, available on Netflix as of late last month, has become something of a phenomenon. It has drawn wildly varying, often quite personal and intense, critical responses. Its critics’ score on Rotten Tomatoes is just 55 percent.

But climate scientists loved it. I loved it. And the public loved it. Its audience score is 78 percent. In the week of December 27, it broke a Netflix record, with more than 152 million hours of streaming. As of this week, it the second biggest movie ever on the streaming service (just behind Red Notice, just ahead of Bird Box).

Audiences have ignored critics and embraced the film, which is not something you’d necessarily predict for a thinly veiled climate change allegory about the difficulty of grappling with bad news in today’s information environment, especially one with such a (spoiler alert) bleak ending.

It’s not the first successful curveball thrown by its writer and director, Adam McKay. McKay first made a name for himself as head writer on Saturday Night Live. In the early 2000s, he formed a production company with partner Will Ferrell and wrote and directed a string of beloved comedies, from 2004’s Anchorman through 2010’s The Other Guys.

But in 2015, he took a turn, writing and directing an adaptation of Michael Lewis’s book The Big Short, about the 2008 subprime mortgage crisis. It, too, was an unexpected hit, scoring McKay an Academy Award for adapted screenplay. His 2018 film Vice, about Dick Cheney, scored Oscar nominations for picture, director, and original screenplay.

He has demonstrated that, despite what the chattering class often seems to believe, audiences are hungry to confront real issues. All along, he has wanted to find a way to make a movie about climate change. With Don’t Look Up, he finally figured out how.

I’m delighted to get a chance to talk to him, to hear about what he makes of the movie’s critical reception, what his other ideas for climate movies are, and how he navigates the politics of speaking out on serious issues from inside Hollywood.

Welcome, Adam McKay, to Volts.

Adam McKay:

Thank you, Mr. Roberts, for having me. I've been an admirer of your work for a long time, an avid reader of your writing, and it is a pleasure to be here.

David Roberts:

Thanks, I'm an avid watcher of your movies. So we have a mutual fan club here.

[Don’t Look Up] has been out on Netflix for a couple of weeks, so we've had enough time now for you to gather some feedback. Let's start with the fact that this movie has gotten more streams than anything in Netflix history. Did I read that right?

Adam McKay:

It's a bit crazy. I was shocked by the response from audiences. Netflix uses viewing hours now as their metric — they used to use accounts that signed on, but viewing hours is a more accurate number — and we had the most amount of viewing hours in any single week of any release Netflix has ever put out.

I understand we're about to pass Bird Box as the number two all-time movie [on Netflix], and we've got a chance to be number one, who knows.

David Roberts:

Who's number one?

Adam McKay:

It's a movie called Red Notice that just came out. It stars The Rock, Ryan Reynolds, and Gal Gadot. If you had told me that our ridiculous-slash-dark climate satire would be contending with Ryan Reynolds, The Rock, and Gal Gadot in an action film, I would have said, “you're nuts.” So it's pretty fantastic.

More importantly, the moment-to-moment online responses have been incredible — just seeing people excited by it, laughing, a lot of people moved by the ending of the movie, talking about crying, having emotional moments with it. So that's the thing that's been really exciting is seeing this worldwide response to this movie, and a lot of people having the response of, “oh my god, I'm not crazy.” Really cool.

David Roberts:

Or at least, “we're crazy together.”

On the other hand, there's the critical response, which has been … all over the place. I don't know what I expected, but it's been such a bizarre range. What do you make so far of the critical response?

Adam McKay:

I've never experienced anything like it. We test these movies, we screen them for audiences, and the last three screenings we had played great — people were laughing the whole way through, at the end there was great discussion.

Then I saw those critical responses … and in fairness to the critics, I don't expect them to mirror a test audience. They look at it with different eyes. So with all due respect, but some of the reviews were so extreme and angry, and I was like, “whoa, what's going on here?”

But once again, they're critics; they’ve got to do what they’ve got to do. But it really took me back. I just didn't see it coming. You make movies, you get hit with bad reviews, so we were just like, “all right, I guess that's that.”

Then when the movie came out, the responses were more like what we had experienced. We were like, “oh, good, we're not crazy.”

So it was strange. I've never experienced that kind of disconnect from the screening, watching the movie with people, to the critical response. It definitely was the most surprising I've seen. Once again, nothing but respect for critics. But yeah, it was very surprising and unusual, no question about it.

David Roberts:

I'm sure you're a self-aware, neurotic guy; you probably have some self-criticisms about the movie. Did any of the criticisms strike home?

Adam McKay:

When you make a comedy, right away you subtract 20 points. It's just the way it goes with comedy. So I wasn't expecting us to be lifted on the critics’ shoulders and ticker tape to come down, because I've made plenty of comedies and that's just the way it goes. Which was fine, because we made a direct choice to have this be a comedy.

I think the ones that surprised me — there weren't a lot, but there were about a dozen that were really angry, and accused the movie of being smug, and said, definitively, “this movie will not relate to people.” “It's too smug, it's too liberal.” “It's not liberal enough.” “It's playing to a small crowd.” Those were odd, because we hadn't experienced that at all with this movie, in any of the screenings we had done — that was never the slightest response we ever had.

With something like our previous movie, Vice, we knew that was tricky. We knew t