Dick Cheney, Adam Mckay, Vice President discussed on BBC World Service


Different understanding. Handle more mundane jobs. Overseeing bureaucracy. Foreign policy. Right. I like that. The BBC's fanzine stoke asked Adam McKay why Dick Cheney I just thought you know, it's worth one more dive in the Cheney. There's a bunch of great books that have been written. But all of her stone may w there's really never been kind of a definitive thing a film on Cheney. And so I just started reading about him, and I was astounded at how he really tracks. The change in America over the last forty or fifty years, he's Zelic like character at certain points where he's just there. And then eventually, obviously when he became vice president he had his hands on the wheel and was steering a lot of changes. And then I read his autobiography, and it's I've never read an autobiography that says less than his than Dick Cheney's. I mean, it is amazing. He he gives nothing. Everything is just the standard of fischel report the entire autobiography, and then it started striking me. And boy, this guy really doesn't want a movie made about him. This is a guy who understood the power is an always in the spotlight. That sometimes you can find deeper power in the background. But I wonder how you when you sat down to write the script, which I presume a long process, given that you heard so much to incorporate into it, did, you know, absolutely. What form the film was going to take because it shifts in so many different ways all the way through. I mean, I knew that the given the world we live in now, which I firmly believe John RAs are melting away at this point. I think there'll be a day where we look back at it's a comedy. It's a drama it's a horror film, and it'll look very antiquated. And because right now the world is so clearly all of those things at once. So I knew I wanted the movie to be unsettling for the audience, and when I say unsettling, I mean, I didn't want the audience to get comfortable like a traditional bio-pic where you know. It's that three act structure that kind of cruising speed you can hit with a movie, and I definitely didn't want that for this movie so stylistically and with my editor, Hank Corwin, we we made a choice that. We didn't want to get to lulled by the hallways of the White House by the offices. And that's why we punctuate moments where they talk about Cambodia. And then suddenly, we're in Cambodian bombs going off, and we wanted to make sure the impact and full reach of everything that was going on was constantly being felt and like all the different feelings. You have about the world as it goes on. Now, it's ridiculous horrifying terrifying. Uncertain. We wanted all those feelings in the movie as well. So we kind of knew there was a bit of an experimental quality to it coming into it with that shift in tones. But that's also what made it exciting for us. And it was exciting to chase down this mystery of Dick Cheney, and we felt like it required. These types of tools Adam McKay talking about vice my guests on today's arts, our our rights. Have Paula Morrison film, L'Opinion est rich clients, rich, a very quick appreciation. Or critique from you on vice advocates, really, interesting filmmaker. I liked what he did with the big short. And I like what he did with this one in in blurring the. John or like, he's talks about I love the fact that he doesn't come at it as a straightforward bio-pic and someone like Dick Cheney really needs to have his story told my problem with vice is that it's played out on a comical level. Almost celebrating the fact that Dick Cheney was able to do all of this. The problem is that what he did is horrific Christian is so good that you really can sympathize with them you understand why he's doing this even though it's all very opaque and weird. You know, what he's up to his very weird and his relationship with his wife, Amy Adams, who's just astonishing this is an unusual role, and you wouldn't expect her to shine quite so brightly in this kind of a side role that she's fantastic political bio-pics, Nixon JFK Lincoln, all the president's men frost, Nixon the lady I mean, there's obviously an audience appetite for them. What do you think the vital ingredient solve that make them work? I think they have to have a complexity in the central character. So you have to have a character. Who's really interesting who you can kind of identify? Fai with either love or hate the ones that don't work are the ones that are simplistic or bland like Hugh Jackman in the front runner, which was also this year and everybody before the film came out everyone thought, oh, he's a shoe in for an Oscar and everything. But then the film opened and he's he's playing Gary Hart who was a really interesting figure in American politics. But the film was bland it's not it doesn't have any of that kind of complexity fire in it. Yeah. A very good point polar Adam McKay, really plays with foam genres melting away. What he said in that interview there other relatives you admire who do similar things with foam. Yes. But I'm just hesitant about his claim. I have to say because people are always claiming that doing something new now. But I don't know that form was quite as rigid before. Now, it is true that there are a lot of films coming out these days like the social network or I Tanya that really play around structurally and very enjoyable. But I don't really think it's a new invention. What about books what about writers? So one of my favorites books of the last couple of years. Also as opposed co angle, I suppose it's Lincoln and the bardo by Jewish Sooners risen about president Lincoln whose young son died mitts based on the true story of Lincoln going to the cemetery at nights before his son was entombed to hold his body. And that's the basis of the story. But the story is told Dacia sway through the voices of of the ghost of the cemetery who observed him, so it's a multi-voice book. And when you hear the stories of the. Ghosts of the the different areas. Why they're there. They're arguments. It's the kind of thing that would be quite difficult to translate into another medium, and I was really and my that about one out from another that it is really its own thing. We got hundreds if not thousands of listeners rushing to order that book. Now, even more film now in the arts our and listen out for nothing. Mention of Adam McKay, he's everywhere. We're actually talking about Barry Jenkins his latest movie, if feels street could talk is a beautiful moving and tend to love story based on the James Baldwin novel of the same name, and it's earned three Oscar nominations for best director best picture which Barry one for moonlight in two thousand seventeen but best supporting actress best adapted screenplay and also best original score for his composer, Nicolas retell who also worked with him on main light the BBC's Miranda Sawyer asked Barry Jenkins, how they started working together. I met nNcholas. Portal through through Brad, Pitt kind of Nick was working on Adam mckay's filmed the big short. Yeah. And we were about to begin working about to begin making moonlight. With plan b is one of the producers that plan being said, do you? How to compose a picked out. I said, no, I think you should meet the sky nNcholas. I'd never heard of him. We met in downtown LA where live for a Cup of coffee, which became a glass of wine which came a couple of cocktails, and we were talking about music in talking about everything about Bach and Beethoven. But also about Yuji k and then off Davis Coltrane. And then also talking about this, Dr of music, I love cotton screwed. And I never heard anything Nick had composed. But the vibe was so clearly fuse we were just so on the same page. I was like, oh, I can work with this guy. I mean, one of the things I relax. As soon as we actually get to see some final being played. Yes. Love this happened in another of your films. But you know, it's very nice to see it in the in the film more than we kind of we here, Nina Simone. We hear mouse Davis. We hear know some great tracks me play music for someone is a very intimate experience. You know, we've kind of demystified a bit because now it's easy to take out your phone and just dial up or or or like being at home and like fast forwarding to right? The right point somebody's car. You could put it in and the right song play. And so to me selecting us on a plate for someone is a very intimate experience. And I didn't realize it. But you're right. And let me make a big deal of Kevin going to the jukebox and playing Hello stranger. He puts the coins. And you hit him dropping them song plays in here finally gets off the bed and walks over. And he drops the needle on John Coltrane is very deliberate act. And so, yeah, there's intimacy consensuality. That. I just like to ask you, I suppose what you're listening to you. Now, if you could choose any track from anything. Come.

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