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Ray Pride

By Ray Pride

Uwe Boll: Words!

uwebwanadevil.jpgSomewhere, William Castle is tingling in his grave. Journalists received a form letter from the prolific German director Dr. Uwe Boll regarding the intentions of his latest movie, Postal, and it’s much like an earlier one back in January for In the Name of the King: A Dungeon Siege Tale. From yesterday’s incoming missive, in response to the widespread question of screen count for the release, with Dr. Boll’s prose stylings left as is, with only an intense number of line breaks removed: “To all of you writing now about me and the fact that POSTAL is not getting screens. its okay ..its fun kicking a guy nonstop who is on the ground [break] you are all not getting it that i’m the guy who made it against the big hollywood system and you are all only busy to destroy me and finish me up and then you YOU WON WHAT ? the attention of the studios, michael bay .. ????? if you damage me you feel closer to Hollywood ? what is your game plan? you want only movies like JUMPER , SPEED RACER , WHAT HAPPENDS IN VEGAS …? then keep going and your dreams will be fullfilled. POSTAL makes some very important points ..but you dont wanna see that …. : that Bush used the SEPTEMBER 11 to start a war against a country what had nothing to do with Bin Laden etc…. but this all doesnt matter because you are all busy to THINK that INDIANA JONES or NARNIA are important movies … but in real they are empty shells of an industry what wants to make money and what wants to keep you looking “escape movies” with nothing in it. in between they are putting some CONTROVERSIAL movies to show that they can do also IMPORTANT movies …but also this movies are not really critical….they only supporting the system and not showing the big picture. and POSTAL shows the BIG PICTURE …it nails the absurd situation with all the stupid religions, races and nations we are living in. POSTAL is not accepting bullshit politics. POSTAL has not the opinion that Bush made mistakes – POSTAL has the opinion that it is a scandal that BUSH is not in jail. What happened in America in the last 7 years is the biggest joke since Columbus stepped on that land. but instead of seeing the courage i had in doing that movie against everybody who tried to stop me – you are sitting on your desks and you are working on stories about me ….and my image as the worst director on earth…and you fullfill what your editor wants from you in regards of uwe boll …or you fullfill what you think makes you a cooler guy in the internet …and you are not getting it that you are only interested in movies like IRON MAN or HULK or KUNG FU PANDA or the MUMMY 3 because the studios spending 60 mio. $ in advertising to make you interested in NON INTERESTING movies. how many times you wanna keep going in movies only because the TRAILER was so cool and the CGI was so great ?
thanks for reading this
uwe boll”
WIRED had a lovely run-in in August 2007. But here’s the script from January, offering the auteur-istic notion that Boll is nothing if not consistent: “Now a few days before IN THE NAME OF THE KING gets out in USA I have to tell whats going on in the filmindustry. If you dont get out with a MAJOR company the exhibitors uwe_boll_digitalis.jpgand the tv and radio stations are not supporting you. This is the reason that independent movies are like self fullfilling prophecies and they almost bomb all. Our competitor in USA FIRST SUNDAY with Ice Cube is a piece of shit and for NOBODY nearly so interesting as IN THE NAME OF THE KING. We have a better movie and a bigger movie with a better script, better cast and we proved in europe that our movie has the power to stay 3 weeks in the TOP TEN and that we can get at least 50% good reviews. FIRST SUNDAY is a direct to DVD title in europe but in USA Sony puts 40 mill. $ in advertising to win that weekend. And this is completly absurd. Sony will not even recoup the advertising costs with that movie. The MAJORS own the TV Stations and the Radio Stations and they use that for free advertising and so the wide audience believes at one point that FIRST SUNDAY is the movie of that weekend – and they go and buy a ticket. The biggest problems in todays market is that nobody believes anymore in word of mouth or gives a film a chance without seeing upfront all 5 seconds in TV a spot. So to all my fans in America or everybody who like Jason Statham or our other actors or loves fantasy or period piece movies or action movies or videogame based movies: go on january 11 in IN THE NAME OF THE KING and show that its not only advertising.”

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“Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a difference of opinion so vast that he first called it the worst film in history and eventually gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the many claims that the unfinished film that showed at Cannes was 24 minutes shorter than the finished film, it was only 8 minutes shorter. The running time I filled out on the Cannes submission form was arbitrary. The running time I chose was just a number I liked. I had no idea where in the process I would actually be when I needed to stop cutting to meet the screening deadline. So whatever running time was printed in the program, I promise you, was not the actual running time. And the cuts I made to finish the film after Cannes were not many. I shortened the opening race scene once I was able to do so digitally. After rewatching the last 4 minutes of the film over and over again, somewhere within those 4 minutes, I froze the picture and just ended the film there, cutting out everything after that point, which was about 3 minutes. Originally in the salt flats scene, the motorcycle returned from the white. I removed the return portion of that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert made up his story and his premise because after calling my film literally the worst film ever made, he eventually realized it was not in his best interest to be stuck with that mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics eventually felt differently about. He also took attention away from what he actually did at the press screening. It is outrageous that a single critic disrupted a press screening for a film chosen in main competition at such a high profile festival and even more outrageous that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and eventual loud singing happened within the first 20 minutes, completely disrupting and manipulating the press screening of my film. Afterwards, at the first public screening, booing, laughing and hissing started during the open credits, even before the first scene of the film. The public, who had heard and read rumors about the Ebert incident and about me personally, heckled from frame one and never stopped. To make things weirder, I got a record-setting standing ovation from the supporters of the film who were trying to show up the distractors who had been disrupting the film. It was not the cut nor the film itself that drew blood. It was something suspicious about me. Something offensive to certain ideologues.”
~ Vincent Gallo

“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster