F*** You All: The Uwe Boll Story (2018) - full transcript

- I'm Uwe Boll, shut the fuck

up during the movie.

See, this happens

when you don't shut up.

- Insulting, irreverent,

politically incorrect.

He may be the most honest

and most badass director

in Hollywood.

- There is a movie director, uh,

who gets hammered by the critics

all the time.

- Why somebody with such

a lack of talent,

would even enter this field?

He's fascinating really.

- Probably one of the most

prolific filmmakers

there are right now.

- Terrible movie after

terrible movie.

Yet, he keeps making millions.

- Yes, this is true; he's

considered by many to be

the worst director

working today.

- The worst of the worst all

have one thing in common,

they were made by one man.

- The biggest hack filmmaker

on the planet.

- He is so reviled and so

hated and notorious.

- He is just a lunatic.

- He is one of the most original

and hardworking

filmmakers around.

- He's become, I think,

a real force

to be reckoned with

outside of Hollywood.

- Ah, basically my message is

"fuck yourself".

You know what that is, that is

the Hollywood reporter, right?

Look at them.

They're all laughing and

smiling, all your idols.

You wanna be like them, right?

And you know what

they are doing?

They are laughing about you.

That is the film business, it's

like a dirty pieces of shit

and I never played that game.

I made movies and focus

on the movies, right?

that is, uh, uh, how

I operate, you know.

It is so pissing me off how

fake that business is, but also

how the young people of today

falling in the fucking trap

because they're all stupid, you

know, like, wake the fuck up.

Ironman is not existing,

the Avengers are not existing!

These are fucking retarded

idiots and Robert Downey Jr.

and all that people, yeah,

they are idiots, uh, you know

idiots, not idiots, they just

grab the money and they're

laughing their asses off.

That is the most bullshit

business with bullshit idiots,

one after the other, lined up

behind each other, you know.

They are all fucking each other

in the asses and nobody

makes any decisions.

All the actors ever worked with,

Ben Kingsley or whatever

are fucking pussies,

nothing else.

They are in the assholes of

the managers of the agents,

and publicists, and attorneys

that protect them,

that, it's so fake and absurd

that I really, really wish that

they would get fucking

wiped out.

And I have enough money

to play golf till I'm dead.

So, goodbye and

goodbye Hollywood.

- I suppose I may have

tampered with the king's food.

- You've poisoned me,

you've killed me.

- Don't be so melodramatic.

- No!

- It's nothing that

can't be fixed.

- You guys, check this out.

It's a warning.

- What's the warning?

- It says once you make

it down here alive,

you're already dead.

- I was never really into

creating an image for myself.

It just happened, you know,

I made, like, movies

then I got first nobody cared,

then I got really bad reviews

and everybody cared about

the really bad reviews

and then you get all that

press because you're the worst

director of all times.

That, I mean,

it's more important, uh,

I think, to do stuff as long as

you can, you know.

And not really to worry about

what the people think about you.

I think that is, uh...

It's just a waste of time.

- Honestly, we just liked making

movies and, you know,

the crew loved him.

But I'm sure people see those

movies and look down on them

but, at the same time, there's

a lot of bad movies made.

- I've done 20 movies with Uwe

and everyone was fun.

He's funny and he's smart.

He's just a really good person.

- I know I've done over 10.

Uwe and I got along right away.

On Sanctimony, it was the

first time I worked with Uwe,

and we became friends.

I think it was Uwe's first

American film

and when I found out that he was

a doctor of German literature

and had his masters in economics

I knew he was a brilliant guy.

And he was into food and movies,

so we had a lot in common.

- I found him an efficient

director and a clear director,

and that, to me,

is the best combination.

- If he called me today and had

scale money, just bottom of the-

you know, I gotta work union,

but if there's some sort of way,

I would, anything,

I would work for Uwe.

- He's a bit of a wild man.

I've known him for

almost 20 years.

I've done nine movies with him

and I've seen different

incarnations of him.

I've seen him evolve

over the years.

- I fell in love with him

on the first movie.

He's just a character who

knows what he wants

and doesn't really care

what it takes to get there.

He gives you the tools to

do it and just expects it.

- Anybody that says they

hate Uwe Boll

doesn't know Uwe Boll.

If they know Uwe Boll,

they would love him.

He's a lovable guy;

he's a really nice guy.

He's no bullshit,

he tells you like it is.

- When I first met Uwe,

I had no idea of his reputation.

My mom actually was like, oh,

I'm going to search him up.

And then I had like 25

missed calls.

Then I call her and I'm like

what's going on, what happened?

And she's like, I Googled Uwe

and did you know he's

called the Raging Boll?

Oh my God, what if he has a

temper or something?

And I was like, mom, like

he's the most like chill guy.

I just found that his family

values and his family in Germany

is really wonderful, like, his

brother and his mother and um...

- It was the sex.

You should have to say the

truth, and what was really the--

- This is why I sensor him

all the time.

- Yeah, I growed up in a

small town, Burscheid,

'65 born, there was

no private TV.

There was no cable TV,

no internet.

So, you grow up outside, mostly,

playing soccer,

going in a forest,

playing with other kids.

There was no concerns at

that point from parents, like,

you know, when you were six

years old, you could like just

get out of the house and play

for five hours and nobody cared.

But there was a lot of times

also alone with myself

playing with my toys,

creating my own little world.

My grandparents lived in the

same house, like my parents.

My mother was a housewife

and father was working.

When he was young he was an

extremely good handball player

and a German champion with

his team, Leverkusen.

I played handball,

I played soccer,

and so he was always yelling

around and giving my brother

and me shit, what losers we

are, basically.

And uh...

So, there is...

Yeah, he was more like this,

kind of, aggressive person.

He never hit me or something,

but he yelled at us, daily.

Where the fuck is this?

Where the fuck is this!

It was the whole time like this.

And my mother is very sweet,

we always had dogs.

So she was the good soul

of the family.

And, yeah, it was like more,

on a distance, you know,

like when I see, now, me

with my kids interacting,

you know like, whatever, we, we,

we play together, I read books

for them, we go to bubble bath

together, like, stuff like this,

my father, I don't

think he ever read a book to me

or ever in a way, uh,

played with us.

You know, like, with lego

or something.

That never really happened.

And that was my mother's

turn to do stuff like this.

So my brother and I discussed

a lot of things when my father

died last year and it was this,

kind of, that is the reason

we don't need this kind of

"I missed you" or something.

It's just we meet each other

and we say whatever like...

"Hi, fuck-face", and then

we start talking, but it's not,

it's not in me to be

like really,

um close to people in a way.

As other people would say,

I'm like, yelling around but,

but that is not yelling around;

that is for me to totally normal

normal behavior, how I

always growed up and talk.

There was no please and

thank you and you're welcome

in my family, it was just not in

our, in our language.

There was, like, for a

single dollar or whatever,

a German market, at that point,

you could watch a matinee shows

Sunday mornings and I, and

my parents let me go there.

I was like eight, nine or 10

years old and I watched

Dr. Zhivago, Sparticus,

all that classics.

There, I started loving movies

and the other kids were not

allowed to go there and so,

I watched all that movies

and told the stories, elaborated

like, big speeches about

the movies to my friends

and turned, really,

into a story teller, right?

And I think that was

the beginning.

And then I told my mother I

really want to make movies later

but nobody took it serious,

of course.

And then I kept going,

basically, right?

So then when you had a chance

with super eight millimeter

to film something.

That digital world from today

was not existing.

So it was harder to get

something filmed,

to do something, and it

was more expensive, you know.

So, I think what was a big

help at that point was that

I met, I was like 11 years old,

I met Frank Lustig in my school.

He wanted to make films and

his parents had more money

as my parents, and he always

got the new stuff,

Beta, Beta Max.

And then when we started

having some video equipment,

we started filming all

kinds of stuff.

I think it was gold to have

somebody who wanted to

make movies too, because

then you fire yourself up.

You discuss about movies,

you discuss directors,

you discuss everything and

you're also more motivated

as you would be all alone

to actually proceed

with filmmaking.

Very adventurous,

at that point.

We basically said let's make a

real movie with real equipment

like 16 millimeter or 35

millimeter, if possible.

Then we have something we

can actually try to sell or

we can show and movie

theaters and stuff like this.

So,1991, I did

"German Fried Movie".

That was the first real

feature film I did.

We coming from Leverkusen

and Burscheid, by Cologne,

you didn't had a big film

community or something.

It was like basically you had to

go to schools, theater schools,

to get actors.

You try to convince him to

play for free or to do it

for 50 bucks or something

like this.

So that was all learning by

doing, in a way, and uh,

yeah, that was the early,

the early film making times

and it was very, maybe it was,

in the beginning,

not professional, you know,

like, because you have so much

in your mind that to really

focus on, okay, now I calm down

and I direct that scene and

I don't think about

something else.

That, definitely, in

"German Fried movie",

was not the case.

So the directing was,

a lot of times, a side effect

of a scene after you...

You were able to pull it off.

So "German Fried movie"

was finally finished,

we got some good reviews,

ut the video company, UFA,

is a huge one in Germany an

they bought the video rights

and they gave us 150,000

for the next movie.

So, an advance for

a political thriller,

Barschel: Murder in Geneva,

about the real German prime

minister who was found dead

1987 in a, in a hotel room

in Switzerland.

So, but that movie failed.

We had 50,000 bucks left

and Frank Lustig said

you can do whatever you want

with the money, and I said shoot

another movie, "Run Amok"

but was a very harsh

serial murder movie.

And then, I saw that as

the end of my career

and that is the way I made

the movie too.

It's very, let's say, slow

motion, big bombastic score.

It's my farewell,

basically, already.

But I felt, as a director,

my career is basically over

and I saw the, the German

film funds

raising money,

going to Hollywood.

Like basically, that is what

I want always wanted to do.

I wanted to do English-speaking,

genre movies, Hollywood movies,

the movies I growed up with.

- Uwe came to make a

movie in Vancouver,

I guess, coming on 20 years ago

called Sanctimony.

So he came to Vancouver,

he said back then to, he said,

I came to Canada to make

American movies.

From a producing perspective,

I was moderately new, maybe.

I might've produced five

or 10 movies at that point.

And he directed a number

of films and so he'd been

in the industry in

Germany for a while.

So both of us we're mildly

experienced, but it was his

first film and sort of the

North American market

and working with North American

distributors and producers

and partners that

were non-German.

- He was just some crazy German,

none of us had heard of him so,

it was a crazy show.

I mean, the script was bizarre.

I think it was translated from

German and maybe not

the best translation so,

lot of it didn't make sense.

But everyone liked his style

and he was definitely into

trying new things and, you know,

it was a good experience.

- He showed up three days

before filming.

He didn't go to any of the tech

surveys and didn't do any

of the preps, so we

prepped remotely by email.

And the script was, I didn't

know what to expect because

the script was a bunch of,

that he wrote himself.

It was a bunch of lines from

dialogue from Lethal Weapon

and dialogue from Terminator

and dialogue from all these

English movies because he

didn't speak English,

so when he got here, I didn't

know how he was gonna...

Gonna react.

- He had his own way of,

I mean making films in Europe

is different.

So he came in with different

expectations than

than many

of the people we work with.

And he has a different way

of working.

- And one is, for example,

you wait very long

till you offer money to the

actors, so you wait like

three weeks before you

start shooting.

You go the agencies and you

say, look who has a job now

and who not and then you

will make an offer to somebody

who knows he will not get

a better offer for a movie

starting in three weeks.

And this is a good strategy if

you basically don't give a shit

who's in your movies.

- You know, shouting at the

makeup girls for taking too long.

He just, he was used to a

smaller guerrilla style, I think

and things moving faster

and you know, he had to

adjust to that but once he saw

the product, I think he

calmed down a little.

- He came around and it

was a bit challenging for him

because he expected a crew

of 40 or so and not a crew

of 80 to 100.

So that was different.

Once he sort of embraced

that and got into the,

you know the efficiencies that

we have in making films

in North America, he fully

embraced it

and became quite

successful with it.

- He is a great producer,

he's great at getting money,

he's getting people to invest

in him, it's easy for him.

He can just get millions and

millions of dollars,

and he's done it,

to make movies.

Directing?

He likes being the director,

not so much doing

the directing job.

- And party time!

The way she will cut this

into the movie,

I'm sure I can use it for my

private but...

- Okay, cut.

- Cut!

- Oh boy, I worked with

Uwe Boll on Blackwoods.

I went up to Vancouver

and worked and had

a really good time.

I was in Blackwoods,

I was in Home Room.

House to the Dead was

the first time I saw Uwe

in full Uwe Boll form and it

was an amazing experience

to watch him.

- Ah, so did you get a good

peek there, Kirk?

- I'm wanna give this to ya.

- Uwe is , he's larger

than life, you know.

I mean, a lot of directors,

I think, don't have as much

personality as Uwe does.

Like Uwe almost should

have been an actor,

you know like a star.

He's really loud and very

opinionated and he says

whatever he's thinking,

like there's just no filter.

- Don't ask what your

country can do for you,

and don't ask what you can

do for your country,

ask what you can do for me.

- You like, love him and hate

him all at the same time.

You're like, you hear him talk

and I would be like,

"I fucking hate you".

And then like the next,

you know, night

we're drinking beers and talking

about something stupid.

- Love him or hate him,

I think, he definitely, like,

leaves an impression.

So, I mean, I love the guy.

I've also just like fucking

hated him, but like...

- There's still a weirdo in

there that like, you know,

I understood and got along with.

- You know there are some

directors will show up on

the set and they want to work

with the actors and bring out

the performance;

he's not like that.

And a lot of that is bullshit,

you know, he's not one of

these you guys who say:

Are you okay, are you alright?

Do you want another one,

can I get another one?

He's not like that, he goes:

"Okay, we got it, moving on.

"Okay we're moving on. Move

your fucking camera, come on,

"get inside the cave.

"I don't want, no, we

have enough of this."

You know, he's not one

of these gentle guys.

- No, no, no!

Now, keep it in your hand

like this, hold it up;

both hands hold it up.

So, he moves back, you go

here, you move forward.

He moves back because he

has the advantage now.

Wait, wait, wait, wait, wait.

You stop here, boom,

he pulls out the knife.

The guy comes from behind, boom!

Yeah, wait, so it sprays in

his face distracts him quick.

She turns back with,

hits the guy, right?

So, the guy is knocked out

on the ground now he attacks

with a knife, wham!

He goes on his knees,

whack, impaling.

Yeah.

So work on the timing, Larry,

but this is the work.

- He's upfront, I mean,

you're never wondering

what he's thinking because

it just comes out of his mouth

whether he wants it or not.

And, you know, if he does

something you don't like,

you can say "Fuck you, Uwe!"

and he's okay with that.

You know, you don't have to

tiptoe around the guy.

So, you know, there's a

transparency that isn't there

a lot in this business.

And I think people

appreciate that.

- I love that Uwe is

opinionated

and I love that Uwe

speaks his mind.

- Cut!

What are you doing;

that's not scary.

Action!

Oh god, that sucks.

- Sorry.

- Action!

Cut; really Shiza?

Shiza, Shiza, Shiza.

- When something doesn't work,

he'll go: "This is shit!"

Or if somebody is taking a long

time trying to do their craft

to get the shot right, he'll

notice "Why aren't we shooting?

"We shoot now".

That's one of the reasons

why I like him.

I liked the fact that he is

candid and I liked the fact that

at the drop of a hat,

he'll call a spade a spade.

- I don't have a lot of respect.

in general, to other people.

That means not I

disrespect people, right?

But I also never see

somebody above me.

You know, I can, I will not say,

you're Will Smith,

you're above me, or if I meet

Tom Cruise, I would tell him

like how stupid Scientology is

and what a fucking retard he is.

So, you know, so like I insulted

a lot of people in my career

because I didn't respect

their authority.

- A lot of people he has

no respect for.

There's a small amount of people

that he was doing these movies

for and the other people can...

Who gives a shit?

- I was never really an outgoing

person, a person who wanted

to live in Hollywood and go

to all the parties or something.

This was like, the opposite to

what I always wanted.

So I did it the way

I wanted it, yeah!

And I think, a lot of chances to

be more in that studio system,

I left.

- It's unclear to me, even

knowing Uwe as well as I have

for the last 20 years, that when

he's, when it's honest and true

and when it's a bit of a game

for him to get some press.

So it's hard to know when

he's playing the villain card

and when he's being

sincere in his tirades.

Eli Roth making the same shitty

movies over and over again.

If you really look at my movies,

you will see my real genius.

I'm the only genius in the

whole fucking business.

You use your fucking brain to

what makes sense or not?

You could omit the whole

fucking Bible.

Michael Bay, the new

Transformers movies showed

again that you have no

fucking talent at all.

All the dialogue is retarded.

You lead your actors like

fucking stupid idiots.

I will make that movie

10 times better as you.

- Uwe, if this is were Michael

Bay, and who says it's not,

what would you do to him?

- Yeah, let's see.

Hello, Mike.

No, I would--

- Oh!

- Tony Scott, for example,

I think, is a guy who made

totally crappy movie because

people get sloppy, he's a loser.

I had an agent for three weeks

and then, I said like,

fuck yourself.

I cannot believe that not more

people agree with my opinion.

- Well, he's this tough

belligerent guy,

but he's likable because

he's so blunt.

And, you know, this is a

town full of phonies, L.A., so

a guy like Uwe who is so blunt

and tells you what he thinks,

is refreshing.

- Action!

- Sir, sir...

- Oh no, no, no, no!

What the fuck are you doing?

You have to wait for him till

he says the lines,

then you pull out the key

and you show it to him.

And then you keep

going with it.

- You know, I cannot let

things go.

Like, if people are pissing me

off or betray me or whatever,

I try to go after them.

I don't forget things.

And I am, as a filmmaker,

focused on moving the story along,

moving the shoot long, getting

like, being efficient too,

like using things, what setups

to the maximum point,

you can use it.

So, in a way, I'm a producer-

friendly filmmaker.

That has to do with

I am my own producer.

So, there is no personal message

in Alone in The Dark,

BloodRayne, In the Name of

the King, Far Cry, you know.

That is the thing.

It's like, I think I did, as a

filmmaker, maybe 10 movies

that are really close to me

and really like my message

to the world and I did 22

movies, I just did because

I had the opportunity to do

them and was able to do them.

- I think there was a period

of time where he was making

those kinds of movies and

that just became his identity

and what people knew him for

or these sort of big, rambling,

sort of huge set piece movies

that like, really sort of were

a hard follow in their plot.

- He didn't navigate Hollywood

in the normal way and you know,

I tried and tried but Uwe

was challenging for me

in that he's got such a strong

vision in such a unique way

of working that it meant that

things wouldn't always work

within the normal Hollywood

system and I think he

embraced that, he didn't like

the normal Hollywood system.

He didn't like the normal sales

and distribution systems.

So he created his own.

- I mean, listen,

he delivered.

He was borrowing money

from, you know, film funds

and borrowing money from

people that invested in movies.

But hey, Uwe will say, you know,

his movies grossed around

the world X amount of dollars

and that's really what

the game is about.

- I was always basically full

responsible for my movies

from A to Zed and they never

had anybody who could actually

veto something, what I said.

So, that sounds like great.

You have all the responsibility,

you get all the blame,

you have all the financial risk

and financial responsibility.

And that is, of course,

troubling, right?

So it's like nerve-wracking

and it's different to

your hired director, you don't

pay the bills and this kind of,

it's a different world,

basically.

- He is a, he's a guy that is,

thinks way ahead of

what he's doing at the time

always, he's always planning

his next day, his next movie,

his next decade.

He's always got something

on the go.

- The actual shoots,

I never had a problem.

You know, like, I mean,

every daily problems

we solve and, for me, shooting

a movie was never this kind of

nerve-wracking experience

what most of the people had

because I felt the hard part

to raise the money or whatever,

I did that.

Yeah, so I went through hell

to make it happen

and then, when I finally

made it happen,

I felt good.

- He's an amazing businessman

and I think, producing-wise,

that's where his talents lie.

So he was always thinking, like,

how am I going to fund

my next film, how am I

going to get money?

And that's where,

you know, he's brilliant.

- That main goal I had in

life, making movies,

I totally achieved it.

I just focused on it and went...

Went for it and made it happen.

And that is a lot of times,

not really the...yeah.

A lot of people cannot do this.

We started with

House of the Dead and

House of the Dead actually

worked and made money,

so that made us making more

of them, you know, so more

video game based movies,

trying to get bigger licenses

from games that were more

successful, you know.

And um...but it not always,

as we know, it doesn't really

translate a lot.

- Cut him loose.

- No, I cannot do that

without sedating him.

He would kill everyone in this

room including me.

- You're making brainless

monsters--

- They're very much their

own medium.

Their own narrative structures,

how they're structure,

character development,

and playing games,

working in games you get to

see like it's a very different

rhythm which means you have

to come at them at a little bit

differently when you want

to translate into anything.

- He felt he had a kind of an in

with video gamers and there

was really nobody that's going

to be able to do a good movie

about a video game.

Video gamers are very passionate

and they'll eat you alive,

and they did.

- Again, you know

how opinions are.

Everybody's got one.

Especially the guy who

ain't doing it.

- If bad films were crimes,

Uwe Boll would be

public enemy number one.

- This is it; this is the

apex of shitty movies

that we've seen.

I've tried every week I come in

here and try to find

a silver lining, there just

isn't one and I hate being this

unmitigated cynicism around

a film, but this is unwatchable.

- Like, the movie starts

and I'm like, I hate it.

I hate it already.

- Why don't you try, in the

future, making a movie

that's worth a fuck!

I hope you are laughed straight

into your fucking grave,

you miserable piece of garbage.

You're trash, Uwe.

- Dude, your movies fucking

suck and you are a horrible,

horrible, if not the worst,

director of this era.

- Why the fuck is this guy

a director, seriously?

I mean, whatever he touches

fucking falls down.

This guy's a fucking hack,

he is a piece of dog shit.

Somebody should knock

you the fuck out.

- Fuck.

Fuck.

Oh, fuck that movie, man,

fuck that movie.

This was literally one of the

worst, no, is the worst fucking

comedy I've ever seen in

my fucking life.

Fuck you, Uwe,

suck on my dick.

- You know there's guys that are

out there that have petitions

against you making video

game movies.

Is that, do just say okay, well,

I don't care, I'm sorry?

- Look, I've come from nowhere,

I make independent movies

since 1991 without money, I'm

not a part of the Hollywood

system and so I'm basically

a lot like a film geek

and I look into the message

boards, I look into the critics

and I want to convince

the game fans.

But if you play a game, week

after week, whatever you built

your own movie in your head,

it's tough to convince this

special fan of that video game,

that it's a great movie.

- And one night we were all

just sitting around drinking

and a couple of the guys I was

with had actually worked on

some of the IPs that had

been turned into movies.

So I thought, well hell, I'll

just jump on and I'll just write

a quick petition and I'll send

them to send over to these guys.

So nothing else I can see like,

hey, you know, a written

middle finger to this guy who

had kind of just taken an IP

they'd worked on and just

run it through the mud.

And, all of a sudden, I get a

phone call from a reporter

from New York Times and so,

this reporter had to

walk me through, he's like

"Oh yeah, this horror film site

"was interviewing him and

mentioned it and he offered

"challenges that if it hit a

million signatures, he'd quit."

The last I looked at the

petition, he'd maybe had

a couple hundred signatures

and here, all of a sudden,

I'm pulling the petition up

and it's got 100,000 signatures.

And that was just, it was

surreal, in the moment.

And at that point, I talked to

New York Times,

Harper's magazine called,

various independent blogs

and like horror movie sites

try to get ahold of me

and I had no idea what was

really going on with this

and here it was causing

this chaos.

- Yes, there was an online

petition to stop,

I should stop making movies

and it got so many people

signing because you got free

chewing gum.

There was a chewing gum

company sponsoring it.

So you've got a free pack of

gum if you signed the petition.

When I did the pro ball

petition, we got way less votes

but we also had nothing to

offer, so

you know, so yeah.

But it was also another PR

campaign saying basically

for the Boll haters.

No, I think I was not under

the radar of critics till

House of the Dead.

They really didn't care about

me, didn't write about me

that they didn't recognize

me in America.

And then House of the Dead was

the first real release,

a theatrical, and then they

hated the movie

and then they looked out for

the next movie what I am doing

and that was Alone in the Dark

and they hated that too.

And then it started.

And yeah, I mean, in the

beginning, you laugh about it

and you're saying it's idiotic.

I still think it's idiotic but

what happens then is,

that was the trademark.

I mean, I make the worst movie

possible so that the next movie

can be only better;

it's a the strategy.

That was the reason I got better

and better and better

because I started so low.

- His movies are shit; he'll

admit that the quality is,

you know, maybe not quite up to

speed but so is his competition.

He doesn't understand that,

why the studios can make shit

and get away with it and he

makes shit and everybody

jumps on it.

- He's an enigma because

he's a great student of film.

He loves movies, he can

critique any movie,

he knows what's good about

movie, what's great about

a movie and what's bad

about a movie.

And his problem is he doesn't

seem to be able to implement it

in his movies.

And I just, there's a disconnect

there from what his knowledge is

and what he can do.

- Now, in a town where everyone

wants a nomination,

here's one no one knows.

- The award show dedicated to

movies as wasted two hours

of our lives.

- I have gotten a lot of

awards but I've never

been selected the worst anything

and I got worst supporting actor

in a motion picture.

- So what do I get this for?

- For Daredevil and Gigli.

- You took an ad out in

the Trades, yes.

- The Razzie Awards are the

opposite of, I like to say,

the 357 other awards that

happen every year.

We're at the other end

of the scale.

It's the worst achievements

in film and, I must say,

we have a lot more choices

than the other guys, most years.

The first time that Uwe was

nominated was

Alone in the Dark.

- Edward!

- God, I missed you.

- I thought you were dead,

you asshole.

- I believe he was nominated for

worst director four

or five times.

And then he did also win a worst

career achievement award,

which he very humorously

accepted.

He did a video that he sent us

from some film location

in Africa.

- Ah fuck, you found me.

Yeah, dear Razzie assholes,

you see, I moved actually

to Darfur, Sudan because you

finished me up, you destroyed

my life, my business,

everything, with your shitty

Razzie nominations.

Go back to your fucking stupid

Starbucks in West Hollywood,

you prick.

- I have to say, of all the

people who's films we have

nominated and awarded over

the years, I think he's just,

he does not display a talent

for camera placement,

for directing actors, for

script, for plot, for dialogue,

for casting, for any of the

things that directors should

know how to do.

- All my movies always were

technical well made.

That is the same when they're

always said like amateurish,

BC movies, Ed wood blah, blah,

blah...it's just not true.

Everybody who worked on my

movies in the technical crew,

they're all from Vancouver,

top block people.

So, you know, it's completely

absurd to say, they do X-Men

and then they do BloodRayne

and now they're turning into

a total idiots who doesn't know

how to put a light up or to edit

a movie or whatsoever.

The fact is that all Uwe Boll

movies are shown, basically,

on every country in the world

and not a lot of movies are

getting sold to Japan, Korea,

Thailand, Argentina, Brazil,

Poland, whatever, right?

And I sold all my movies

basically everywhere.

Why?

Because they're so shitty

from the worst director ever?

I mean like that is the thing

there are thousands of movies,

they stay unsold in any

territory and getting posted

on YouTube instead.

Yeah, so, it's of course

completely absurd to think

I'm the worst director ever.

- I would say my reviews of his

stuff were all over the place.

I mean House of the Dead

is just terrible and I think

that's the first one everyone

saw and I think he has ambition

and he has a point of view in

mind, which makes him a better

filmmaker than some other

bad ones.

He just, genuinely,

isn't very good.

- Game over, fucker.

And I think, like a lot of

student filmmakers,

he convinces himself that

it's good enough and that

he's done the best he could,

but there are still some

glaring problems a lot of times.

- Usually, on a movie set,

there's an argument that

goes on between the

producer and the director.

The director wants more time

for more quality.

He wants to be able to look

for the nuances and find

the little nuggets.

The producer is saying, "We

don't have time, we don't

"have money, you gotta

shoot quicker."

Well, that conversation

happens inside of Uwe's head

and the producer wins.

So when in doubt shoot it,

and when in doubt,

do it as cheaply as possible,

it doesn't really matter.

Uwe doesn't screw things

up himself on purpose.

I mean I think it's Uwe's...that

fight with the producer/director

and trying to do it for the

dollar and then he realizes that

a lot of movies aren't that good

and there's a quality issue.

It's better to make one

that's just okay

then wait around, wait around

and wait around and to try to

do something brilliant.

- You know, I'm always about

the script and I think the ones

where we had the better scripts

are the more solid projects.

The ones that were, some of

them didn't even have scripts,

they just had a treatment.

Which is a nice experiment but

the outcome is not always

that satisfying.

- My uncle, he's a sailor and

he once told me of a place

where people play all day

and the trees grow fruits

in every color of the rainbow

and the sunsets

set the whole sky on fire.

Doesn't it sound wonderful,

Rain.

He'll send for us soon,

I know it!

- I got a call from my manager

saying there's a guy who wants

to make a movie based on a

video game about vampires.

So I, literally, wrote something

in a day, just a treatment.

And he liked it.

So I'm like, okay, now I'm

going to write this movie.

I was about two weeks late

delivering my draft and

that meant that Mr. Boll called

me and just screamed at me,

"You lied to me, this is

disgusting, I'll never believe

anything you say!"

I was like "Uh, wow, that is

the last conversation

"I'm ever going to have

with this man".

Writers deliver screenplays

like a year late.

Two weeks is nothing.

But, I did deliver it

but what I didn't know

was that he had an entire

crew in Romania just waiting

for my first draft.

I was just like, it's what,

you're going into...

It's a first draft!

Like that's, like that's sort

of like the naked onstage

in your high school kind

of dream that you have.

Like somebody actually takes

your first draft and makes it

into a movie.

And then, the day before the

premier, the producer called me

and he said, "I just want to

warn you that

"there's been some rewrites.

"Uwe took a crack at it, no,

Uwe did a rewrite,

"and then he let the actors

take a crack at it."

Which is like saying "And then,

the Dolly grip was like, hey,

I got an idea".

Like, it's not like a communal

process, writing a screenplay.

So he just warned, he warned

me, like, you know,

just be prepared it might,

you might not, there might be

some things in there that

you didn't write.

What?

Really about 20% of what I

wrote ended up on the screen.

And hey, Billy Zane, what the

fuck are you doing

in this movie?

That's a character that I did

not write and did not exist.

It's like Billy Zane was in a bar

in Romania and they were just like,

hey Billy Zane, wanna be in this

movie; here, put on this wig,

say some random shit.

But it actually makes the entire

plot of the movie make no sense.

It was hanging on by a thread

anyway but there was

a logic to it.

Gone!

People did not like it, people

did not think it made sense.

People continually speculated

about me as a writer.

I don't know if you know this,

but I won a Razzie.

And I'm like, you know what,

if I'm going to do something,

I'm gonna go all the way.

I got an award for that shit.

But I got paid all of it, all at

once, wired into my bank,

which, I have to say,

was also a deciding factor.

He should care more about

the script and the story

and he doesn't.

He just, he gets the idea,

he gets the property

and gets the money and

just starts right away.

So I don't, I haven't worked

on a Uwe Boll movie yet

that the script's been ready,

even Postal.

I did that, was my first draft

and we shot the first draft.

- The structure of the German

investments was very limited,

in a way, you had to raise the

money and spend the money

in the same year.

So you just don't have the time

to prep and write 18 different

versions of a script.

So you were kind of stranded

in, okay, you have a script,

you'll maybe revise it within

a week or two, but then

you have to go and prep,

you have to start shooting.

Otherwise that the investors

would never get the tax loss

on it, and then the whole

investment would totally

fall apart.

- Uwe Boll would just set up

a couple of cameras and

he would shoot it in one

and the idea being, well,

we'll keep it fresh,

and keep it alive.

Well, what he's really doing

is just shooting fast.

A couple of things I've worked

on, you know, just if they would

have just been a little more

nuanced or maybe just had

a little more care taken to

them, they would have been

quite a bit better.

- The cinematography, he calls

it combat documentary style

which is okay, but there's no,

like, beauty shots and you know,

camera angle, and lens size,

and camera movement,

can sometimes impact the story

and impact the audience.

Uwe doesn't believe in any of

that because he believes that

the material is of enough

weight.

- Whether a sequence or a movie

needed handheld,

everything was handheld.

And I just felt, actually,

that's kind of genius

because, you know,

if it doesn't really matter.

I mean, I don't think that

because it was handheld

that alone keeps a movie

from elevating.

You have a little more

resources, if you have a little

more money, you can fix a few

problems as you're manufacturing

and Uwe doesn't really go

that way.

You know, Uwe, in fact,

one time Shawn Williamson,

it was on House of the Dead,

Shawn Williamson went up to Uwe

and said, "Boll we're a little

ahead of schedule and this is

"in preproduction and we're doing

great, we're doing great with

"the budget; how about we have

a writer, we bring a writer in

"and do some rewrites, maybe

punch it up a little bit because

"I think some of the actors

were kind of complaining that

"maybe the material needed

some work."

And Uwe said

"No, the script is fine."

And...

You know, it was

House of the Dead.

- When we were shooting

House of the Dead, at one point,

he threw the script out

and said, we're shooting

the video game, we're not

shooting the movie.

It became a very unique

situation that you don't see

very frequently in independent,

in any cinema, really.

- Some of these maybe aren't

as close to his heart,

you know what I mean?

There's, like, less, he has

less stock in them to be good.

In a lobby once after

work, he yelled at me.

He was like "You're ruining

my movie!"

And I was like, "Uwe you're

ruining your movie, man."

Like, I can't direct this for

you; like, you know what I mean?

We're all out here, we don't

know what the fuck we're doing.

- Who are you; I'll fucking--

This is what I do, tell me

who you are!

- Say it!

- Eagles Nest.

- Eagles Nest,

- Oh, the safe word.

That have could have been bad.

- Yeah.

- Uwe was doing a shot in

Blubberella, you know,

he's got video village, he's

standing there he's got

a monitor, he yells action,

he's reading a boxing magazine.

He's reading like the European

version of Ring magazine.

And I'm watching him because

I'm not in the shot.

He reads the boxing magazine,

he calls action.

His eyes do not lift up from the

magazine; the scene plays out

now, he can hear it.

He's maybe 20 feet away from the

actors, so he doesn't look up

and see the image, he doesn't

see the scene.

He yells cut when the dialogue

finishes, he asks Mathias,

"Was it good?"

And he yells print.

And the man did not look up

once from his boxing magazine.

So, whether that's confidence

or absurdity, I don't know what,

but Uwe's full of it.

- It's hard to point to one

thing at any of his movies.

It's a death by a thousand cuts.

There's pieces here and there

that are just shy of where

it ought to be, and a madman's

trying to assemble the puzzle.

And it just doesn't play out.

There's very little redeeming

or actually entertaining

in his films.

Most other bad filmmakers,

at least you can have some fun

laughing at their shortcomings,

their ineptitude.

American audiences adore

Ed Wood.

And in part, it's because

of the sincerity

of his oafish filmmaking.

Uwe Boll was kind of like

somebody who walks into a room,

punches you in the face

and then says,

"What'd you think of that?"

- Trying to navigate Hollywood

with him proved challenging

at times, yeah.

Uwe's got a very, very strong

sense of who he is and where

he thinks the world is,

and he's not shy at all

about expressing that.

And 99% of what Uwe's views,

I completely share it.

Ninety-nine percent of how he

gets it across, I disagree with.

So I'm very Canadian; I always

used to say I was the U.N. guy

with him, so I'd be wearing a

blue hat trying to navigate

the war zone and he was creating

the war zone for me often.

So when you're trying to deal

with agents and convince them

to put actors into movies and

they've recently read

an email thread or watched

a video of his,

it presented some

challenges in casting,

or in packaging or finding money

or distributors and things.

I had to be a bit more delicate

in what I did when we're trying

to attach cast.

- Today we have,

the bordello steam room scene,

very erotic scene.

The actresses doesn't want to

be naked in front of everybody.

It's always very hard to

convince female actresses

to get naked.

They are all super prude; it was

funny with Tara Reid on

Alone in the Dark like, she goes

almost naked to every party.

She goes to,

with dresses on where like

her tits hanging out but, in the

movie, a bad scene was where

she loses her bra,

like impossible,

but she doesn't want to do it.

So, this is absurdity of a lot

of, especially American woman.

- Why are you not naked,

we are on set?

You were not in one fucking

movie completely naked.

- That's wrong, I have.

- Where, in what movie?

- Um, I have done a nude scene

in millennium, the TV show.

- In what?

- In millennium, my first job.

- But that's TV.

- Yeah, it's TV but still.

- I was like...

And then this Indie film that

I did in Spain.

- Spanish, Indian--

- This is what,

I represent the majority.

I did a lot of research the last

10 years, I know what

the majority wants to see,

at least on DVD.

We show tits and violence

because this counts,

this is what the fans

want to see.

- I agree.

- And look, more dialogue is not

good for the movie franchise.

- He approaches his art

in a way that he would like

to make everyone the

most uncomfortable.

I don't know where half

of these ideas come from,

but I know half of them are

specifically designed

to piss people off.

- I think because, the money,

for the movie comes from

Uwe's film fund, he has no boss.

You know, so he doesn't have

that alternate point of view.

- We had that BloodRayne

scene where in the middle

of scene where we needed

basically girl's playing topless,

like hookers, basically.

So and in Romania are

really everywhere hookers

on the streets, right?

So they're like 10 bucks

basically, you know,

so I felt like, why not hiring

them and saying here are

20 bucks and you just lays there

on the bed with meatloaf?

Yeah, I said you just go

and get hookers.

You know, and that we did,

and then of course Hollywood

flipped completely, everybody

wrote about it because

it's unthinkable for them

because prostitution is not

allowed in L.A.

I am totally against censorship,

they're saying that if you are

18 or older, you should decide

what you want to see

or what you want to play.

And that, I think it's totally

absurd that the some five

older people or whatever,

whoever is in the rating

commissions make a decision

what can get sold or

what you can distribute.

I know, it's like you cannot

do this; who says this is?

Then, it's

already...you're wrong!

You can't say whatever

you want, right?

So that is the thing,

you have to break the taboos.

And I was always like this,

right?

So that is the thing, it's like,

but I don't retreat,

that is the difference, right?

So, I am not sorry if I make a

joke on the costs of

a retarded person,

of a handicapped person,

of a black, white, Chinese

I give a shit.

You can say n--

, I give a fuck.

You know, that that is the

thing that people have to

get it in their brains, that

is language, that are words.

And that, that is what,

basically, my whole life,

I didn't accepted this.

- Uwe says fuck you,

I have my own money.

You can't tell me; what, you're

not going to let me

spend my money?

You know, and that might've

been the biggest problem is that

it was his money and he

answered to no other authority

than his own.

- There was no one telling Uwe,

you can't make a joke about

the gold teeth pulled from,

you know people in Auschwitz.

It's not funny.

You know, but Uwe would say

"I can put it into a movie

"because I am the boss!"

But yeah, he offended some

people and he thought that

they were offended, was funny.

- And I want to explain a little

about the financing of my movies

and also from Germany was

where money comes from

because you know, they're all

the rumors out that my movies

are financed with Nazi gold.

And what should I say;

it's true.

But somebody must do

something with the money.

I get a little horny here on

stage sometimes.

If there is a crowd and all

the children.

- Are, you fucking kidding me?

- I don't have like any lines

in a way that I feel,

I cannot say that word,

I cannot do that in insult.

I don't, I'm not scared

to offend people.

- Moving into Africa and

controlling it and the six means

I can do it again.

- Off the board,

that shouldn't count.

- Doesn't matter, it's flat.

- I think in a satire,

you can do everything and

you should do everything.

- That was a tough one, I

didn't want to be black-face

in that movie.

He wrapped me at the end of

the day, I was actually done

the movie and I was changing

my thing, I thought I was done.

And like, he kind of pulled me

in, he came into my trailer

and he's like, I've got one more

thing, I want you

to do black-face.

No, Uwe, like, no.

I don't know what to do

with that.

And like, why, you know?

It's not going to be funny.

I mean, I'm just not prepared

for it, you know what I mean?

Um, and I don't know, he's

just got, kind of, a really

convincing way about him.

Somehow I ended up being

in black-face.

- Uwe Boll doesn't seem to

have a clear sense

of what's funny.

Um, every five or six minutes,

there was something that you

just went, oh wow, did he really

just say that, did he do that,

did he insult that person,

was he that tasteless?

- I passed on Postal and I think

Uwe held it against me

for a little while because I

just felt like I read it and

went, "Ooh, I don't know,

I don't want to have to go

"into government hiding

or something."

I felt that one maybe crossed

the line a little bit.

Uwe has a unique sense of humor.

- Cut!

Wonderful, just wonderful!

- The children being shot

in the big shoot-out

in the middle of the show is

horrific when you tell people

the story, but when you see it,

it's hilarious.

So there's something about

that, even when you hear

of a plane crashing into the

World Trade Center,

it tasteless when you talk about

it but really when you see it,

it's quite funny.

- But he was trying to push

buttons in that one

and he succeeded.

And, it's not necessarily

funny to me.

It's funny in some cases how

ham-handed it is,

so that's not what he

intended but

he's not, he's not like Howard

Stern where he's saying

offensive things in the

service of a larger point and,

you know, he's the fool that

has some classic fool

that tells the truth.

He's not that guy.

He's a guy who thinks he is

and can't quite get there

but you can feel him trying.

And his idea of comedy

and my idea of comedy

didn't always mesh.

So, Postal was a film that we

both found challenging,

you know, together on in that,

his vision of what he thought

was awesome and funny,

wasn't my style.

And so, as we collaborated

on that film, it became

one of the more difficult ones

for us to work together on

because it was recent,

it wasn't too long after 9/11

and I thought that we should

be somewhat more sensitive

to situations and he felt it was

exactly the right time

to put all that in

everybody's face.

- Uwe definitely has his own

idea of what's funny

and what isn't.

And, uh, you know,

a lot of it, I think,

he likes to provoke and

sometimes,

misses the mark.

- You know, no matter what,

film has to be entertaining.

I think that is the saying,

whatever you is show,

it cannot be boring.

That is the main point,

it can be shocking,

can be funny, can be horrific,

but it shouldn't be boring.

- I think that there were times

when he should've focused

on directing and less on writing

perhaps, and less on producing

and just go and direct,

or go produce

and let somebody else direct.

But Uwe, he liked to do it all.

- Three movies in one because

I had the second world war

setting in Croatia.

I had the trains, I have the

tanks, I have like the army

stuff from the second World War

and and so to combine it

to make three movies in a

longer shoot and save more

as half of the production

budget of every single one

of that movies.

I think that was very clever.

- What's up brothas?

For Blubberella, I didn't know

until, literally, weeks before

we got to Croatia that we were

filming two movies at one time.

And then, two weeks into

filming, he added a third film.

- It's amazing, like, so we did

three movies and I think

they were in like 16 days.

Auschwitz, I didn't even know

about until like the day of.

I think he was like, Brendan,

like do you want to come and

like play, like, a Jewish

captive or something?

I was like, "What are you

talking about?"

In what, like, I had my plate

where I was doing BloodRayne

and doing Blubberella and even

Blubberella, we didn't even know

what that movie was

necessarily, either.

So, I'm just trying to wrap

my head around doing those

two movies.

I mean, I was just like, no,

Uwe, I don't want to be

in Auschwitz,

it just seems like

the most irresponsible, like,

you know what I mean?

How are you going to do

BloodRayne and Blubberella,

this spoof movie, and then

also be so serious and tackle

such a hard subject as Auschwitz

in the same vein and have us all

switch in between those

tones and those movies?

But that kind of shows

you kind of how Uwe thinks.

- The first night we got to

Croatia, we went out to dinner

and he said he didn't get

BloodRayne 3 funded without

telling them that he could do

Blubberella and deliver

two movies for the price of one.

- I think BloodRayne 3,

actually, turned out very good.

I'm very happy how the movie

turned out in the end

but Blubberella, the comedy

on BloodRayne has 25 minutes

hilarious scenes and 60 minutes

like things what we had

to shoot in half an hour.

- This is an honor.

- Your camp is too dark.

- I trust you've received

my communiqué.

- The doctor is in his lab!

- But that never worked

because we were, in a way,

behind and they couldn't

had BloodRayne 3 suck.

So I could not have like,

not enough shots.

- So, first our primary

purpose was to do

BloodRayne Third Reich,

so we would do a scene

with a vampire, a zombie

and I'm like, you know,

operating on it.

- I believe it was a gypsy at

one time, but who's to say?

- I've never seen one.

- Which is why you're alive.

- And then when it was time

to do Blubberella, it was,

Uwe said "Okay, roll cameras!"

There was no rehearsal,

there was no, I had written

something down

but it was fake it, you know.

- I believe it was a movie

critic at one time but

they don't get out much.

- Yeah, I've never met

a movie critic, hmm.

- Which is why you're alive.

- Every single shot in that

movie is pre-visualized.

We have mood movies from

everything, storyboards

but we just don't show it

to anybody, you know.

- He sends me BloodRayne 3,

I made, I'm not joking,

like written notes in the,

whatever, columns of the script.

Not on every line, just like,

oh, here is something funny

we could do, here's something

funny we could do.

Send it back to him.

So I assumed that the writer

of BloodRayne 3 was going

to write this untitled, he

started calling it

the untitled superhero movie.

So we all sit down and

they pass out the scripts

and it says "Untitled Superhero

Comedy" and I open it up

and it's literally BloodRayne 3

with my notes.

Basically, I told Uwe,

90% of the way through filming,

I'm like, you're not going

to get an entire film.

They would film BloodRayne 3

and then, I would,

they would call me to set, once,

because we're obviously using

the same location, the same set,

the same set up and I would

get there, I would get maybe

one time to block it through,

and then we would shoot it,

and then that was it.

So we never, I mean,

I know we never had more than

two takes.

And so what happened though,

was we started running out

of time, so they would, bring

us a set, and bring me the set,

and um not being able to film

my part, my version.

I will go back to the hotel

and they would just cut it.

So the film, you know,

was running short

and it didn't make sense because

there were chunks of it

that were missing, right?

So, I told Uwe, you're not

going to get a separate movie

out of this,

there's just no way.

And he was like, I just have to

get to 77 minutes

or something like that.

- Yeah, you know, it's like,

it didn't, didn't,

the concept of Blubberella

was not really like to be

a high-end comedy.

It was really like being trashy

and I said that,

we definitely fulfilled.

- Like to work on an Uwe Boll

movie means you really have

to be on your toes, a lot.

Like especially with the Rampage

movies because they were based

on six page treatments, not a

lot of the dialogue was written.

We shot those movies

in six days.

So some, and it was all one set.

So like some days, I'm just

like, run through like

the entire movie, you know

what I mean?

Knowing that like, fits good

and it'll be in the movie,

if it's bad, it might still be

in the movie.

Probably will be because we

were shooting it in six days

and we just need the material.

- And it got to a point where he

was, he just wanted to tell

a story and move on.

And directing is, it's about

directing what's going on

and he lost sight of that,

for sure.

- He's not the only person who

would have made a bad movie

out of those video games;

there are plenty of other people

who could've done the same.

It's just the incompetence

combined with the belligerence.

It's kind of like, oh yeah.

Bad reviews or a bad comment,

usually it's a "fuck you" and I

carry on, you know,

I just move on.

And I never say it to their face

because that is just throwing

fuel on the fire.

In my mind, I'm saying it.

The best way to, to sort of

distance yourself

from a conflict is

just don't respond

You know, that's Uwe's problem.

Sometimes people will take a

shot and Uwe responds.

And...that's his card.

- What like, Internet nerds

and jealous wanna-be-filmmakers

are signing the competition

and I was able to track

a movie down, what they

actually did.

And here we are.

It looks like they shot it in

the public toilet in the school.

The whole light is completely

off and, but, whatever.

What I say, I cannot imagine

that somebody from that

anti-Boll petition signers

have any clue what light is.

This is the kind of quality the

people are doing

and they have like, let's say,

under the nicknames

of the internet, have the balls

to criticize my movies

or to write like how

stupid my movies are.

You know, when they don't

like what you do, it hurts.

You know, and even if in

your heart of hearts

you think that you've done

something great,

if they don't like it, it hurts.

- Uh, if you get like from lot

of people almost the same

response for it, then it's not

about the movies,

then it's about me as a person.

And I don't think that people,

they know me as a person,

dislike me.

I didn't have a lot of fans,

let's say this way,

I didn't have a lot of people

supporting my movies.

I think it's hard for him to

find somebody whose critique

he respects because he says,

you're not so smart.

He's not a schmoozer.

He says, you don't like my

fucking movies

then don't watch my

fucking movies!

- When I think I triggered

this kind of bashing

because I bash back,

the whole time.

- He could make a really

amazing film and people

would completely bash it, just

'cause it has his name on it.

Like, he would almost have to

make a film, I actually pitched

this to him, I was like, you

should make a movie that

you're passionate about and

release it under like a,

you know, like a pen name

because they see Uwe Boll

and they immediately go,

"this is going to be bad."

You know, he'll never

have a shot as long,

his name is so tainted,

you know.

- Well he, you know, he traded

on the notoriety.

He, in a sort of schizophrenic

way, he embraced it but,

at the same, time he professed

that it pissed him off

but he kept coming back to that

circle of people who were saying

fuck you.

Um, if it really bothers you,

you're not going to keep

coming back to the place

where they gave you

the exploding cigar.

But is that an act?

And that, I guess, is the core

question of Uwe Boll:

Is it an act?

Is he really as angry, is he

really as incompetent?

Is he really as obnoxious

as he comes across?

And I would think, only

Uwe Boll could answer that.

- Yeah, he probably does

take it personally, you know.

And, but he'll say so

himself, he's like,

"Well, fuck you man!"

Like yeah, so what, this

movie didn't work,

you didn't like this movie

but like, look at all these

other movies I'm making,

like, look at this.

Like, this is good, don't tell

me that this isn't good.

Like, forget Dungeon Siege,

I'm tackling, you know,

issues that Hollywood

won't even touch.

- I think that, really,

obviously it doesn't help, it just

fans the flames of his insanity

and his craziness but,

like I said, Uwe is a little

off, you know.

I mean, he's really aggressive

and really opinionated and

you know, I don't think

he's quite all there.

- I can reach people, if I'm the

Uwe Boll they think I am,

right, this kind of bashing,

a crazy person who is

the worst director ever

and then if I do something

what fulfills that expectation,

they are more willingly

to listen to it.

- Being the guy who is just

known for throwing people

the bird and being that asshole,

had its own kind of cache.

And he really seemed to know

how to work that really well

because, yeah, he'd make a bad

movie but a lot of people

made bad movies but he would

make a bad movie then go on

a press junket, throw the middle

finger at huge swaths

of the audience that he,

are kind of hoping would

come see this movie.

And they would just, you know,

the Internet would blow up.

Like, well, eff this guy, oh,

what an asshole.

But then they'll all go

see the movie.

- Yeah, in this business you

really have to grow

a thick skin.

You really can't engage with

critics or the press to,

especially nowadays on Twitter

because then it just blows up

into a huge thing but, back then

it wasn't really like that and,

frankly, I respected Uwe

that he actually genuinely

thought that he had made good

movies and was ready to put

his fist where his mouth was.

- Are you ready?

The event you've been waiting

for has finally arrived.

Legendary German director,

Uwe Boll, will be putting on

his gloves and stepping

into the ring.

He's challenged critics

worldwide to stop grumblin'

and start rumblin'.

- Look guys, if you're right,

you want to kick me in the balls

and you want to hit me

and you want to kill me,

let's do it in a spot somewhere,

let's do it in a ring,

let's do a boxing match.

I saw myself branded now,

as the worst director ever.

So I was very mad about it

and I felt like, okay,

let's invite some reviewers

who were like hating me

or whatever and let's challenge

them to a boxing match.

- I was the announcer,

I was the guy who said,

"Ladies and gentlemen,

the Teutonic Terror,

"the German, you know, machine."

I've brought out Uwe.

The Raging Boll,

the Deutschland Destroyer,

the Teutonic Terror,

Dr. Uwe Boll!

- It was funny because these

critics thought they were

very cute and going to tease

Uwe but once they stepped

in the ring, you know,

Uwe beat them up.

I don't know, when he boxed

this critics, I don't know

if that's as much about him,

like fighting back against

his critics that don't like his

movies and more just wanting

to like, beat someone up.

Like, for fun.

- You know, it's amazing that

he boxed the critics,

it's also really amazingly

stupid that the critics decided

they were going to take

him up on it.

I mean, come on dude, if

somebody challenges you to box,

that's an indication the

guy knows how to box.

I don't know what he was

trying to prove because

beating up a couple of nerdy

critics doesn't mean that your

movies are good.

I was shocked when I got

selected but when I did,

it was like, okay, this may

be dangerous, this may be

bad for my health, but it's a

free trip to Vancouver,

so how do you say no?

- Well, all I can say is that

I'm sure that, that there were

a bunch of fans who could

appreciate that.

It's a way of handling

things and it's a lesson

in be careful of what

you get yourself into.

I mean, if you don't know

what you're agreeing to,

you better ask somebody,

you know?

- Yeah, this German movie

director who said he was gonna

fight any critic of his movie,

was that, is that right?

And you said, okay,

I'll fight you.

- And me being naive,

you know, I thought it was

just going to be a PR stunt

because who in their right mind,

you know what movie director

would actually say, yeah,

I'm going to beat up my critics,

saying, I thought it was just

going to be a goofy kind

of thing until I--

- Oh, you thought the fight was

just gonna be like a PR stunt,

like a comedy funny, stunt.

Boll is like an amateur boxer.

- Yeah, they didn't tell me that

until the day of the box.

No, it was after the match--

- So they flew you out.

- He had been boxing

for 16 years.

- So they flew you out there

just to kick your ass.

- Yeah.

- That sucks.

- Uwe would train every day.

- At lunchtime, he'd go for

a 5K jog with his dogs

and come back and then

we'd just work again.

Yeah, it was really, it was

great because we knew

he was going to kill everyone,

yeah.

We knew how good he was,

right, so.

- When you're not used to it,

you cannot handle the violence.

Like, everybody has a plan till

you get hit in the face.

- I spent the whole day in

the Amsterdam cafe

in Vancouver, smoking weed.

I was so high when I got

into that ring,

I barely felt any of the blows.

- Jeff Schneider, he actually,

before, he said,

he'd never watched a Boll movie,

but he doesn't have to

because they're very bad.

I think that he said that in

an interview or whatever.

I mean, now that is the worst.

I mean, it is like basically

the most absurd thing, really,

you know, to have this kind

of opinion.

As a reviewer, at least you

should do your job and then,

he got actually pummeled

worst in the fights.

I think he had the biggest

damage, he had to go

to the hospital, he was

throwing up, pissing blood.

- I collapsed on the ground

about 50 yards

from the locker room,

I vomited everywhere.

Sure enough, I'm in Wired

magazine there's a photo of me

surrounded in a pool of my

own vomit with my "Hi mom"

wife beater on, yeah.

Not, how you imagine you're

going to be in Wired magazine,

but hey, I'm in it.

- I think when your reputation

is so far down

that there's nothing else you

can do, a publicity stunt

like that is great.

If you have any kind of good

reputation, no.

I mean if Spielberg challenged

someone to a fight,

it would hurt him.

It would be very bad for him.

- I think it's silly.

You know, it was amusing

but I don't know,

I mean, it's just another

provocation, I think.

It's kind of a deal with the

devil, if you want to be famous,

you're going to get shit thrown

at you, no matter who even,

I'm sure there are people who

hate Tom Hanks, for God's sake.

He seems to have an attitude

at a certain point in his career

as though he could bully people

into liking him and that just,

that's not going to happen,

that just makes it worse.

You look like even more of a

buffoon when you get mad

and throw a temper tantrum

or punch a critic in the face.

You know, I think he took it too

far with the critics and,

like I said, it didn't do

anything to help him, you know,

don't challenge people to a

fight, you know, kind of thing.

I think, at the end of the day,

don't cry about not being

taken seriously and then

challenge your critics

to a boxing match.

- That whole event that he

created almost just like this

PT Barnum Circus, you now,

selling the sideshow,

I mean, he's a good showman

and that is what has sort of

endured as far as his

cinematic legacy.

- And to put so much effort,

so much work in making movies,

I think you have to take it

serious, you have to be

emotionally involved to go

through this endless,

no sleep, shooting night times,

like physically hard situations,

risky situation, whatever, like,

I think you need to be

emotionally involved.

- You know, I think Uwe does

have passion as a filmmaker.

Uwe does.

He is creative.

It's just, he doesn't quite

have a handle on

the western film making process.

He's not lacking passion.

You know, after the fact,

people can pick on his movies

or they can see that maybe

the quality is not quite as

up to par you know as other

projects but goddammit,

he's made 'em.

- I don't think that he makes

movies and that sort of

middle ground, you know,

they're extreme movies.

- He's one of the hardest

working men that I have ever met

or worked with.

Whether it's campy like Postal

or House of the Dead

or BloodRayne or Political

like Rampage

or Assault on Wall Street,

he does have a cinematic vision

for where he wants to

go with the story.

It's just his process is

quite unique.

I don't think Uwe went into

the movie business

to just make money.

Part of where Uwe was torn

is the movies he wanted to make

were too controversial to

be profitable.

So he's always been trying

to balance, okay, I made

the video movie for the money

and make everyone happy

and then I make my political

movie and I'll make some kind

of social observation.

- I found an article about me

but bigger magazine,

and he wrote, like about the

last movies that I got

more and more vigilant,

bitter and cynical

and all my heroes killing

people, like Rampage,

Assault on Wall Street,

whatsoever right?

And he said, it's so sad, right?

And, but that is the thing,

it's like, no, it's not so sad,

that is a good thing.

I actually make movies or

may try to make movies

or talk now on my podcast about

the only things that matter.

And that is what the

people don't get.

And that is the thing, like,

most of the movies out there

getting featured for Oscar

nominations are actually

unimportant, boring, and have

nothing to do with the reality

we are living in.

- Please.

- Are you going to do that?

- Are you just going to

do that to me?

- Please, just take it easy.

- Are you going to let that

happen right now?

What happens if that was you?

What happens if it was your wife

and your kids!

- I have orders.

- You have orders!

- If that was you your wife

and kids and you're going

to let them be!

Shoot me.

Shoot me!

- We cannot ignore what's

going on on the planet.

Everybody's on the same page

like cheating over

the population.

You know, nobody wants to

say the bad news, basically,

and then we have to drastically

change the way we live together.

You know, so, and I will

also not change it

but I also don't just want

to be just a bystander.

- I mean, I spent five weeks

in Croatia in the middle

of the winter with the man,

so I can, I got to see like

what his passion was and his

passion isn't doing

BloodRayne movies, you know,

like his passion was doing,

like, Darfur, the Auschwitz

movies, like, I think he's this

this serious filmmaker that

got trapped in this

video game world.

- He's got very strong views

about these things

and he had a voice with his

films and whether you like it

or not, people watch them

and people do enjoy them

and the people that

enjoy them, get it.

The people that don't,

don't get it.

Uwe was a visionary who,

you know, was very very strong

about what he was trying to

achieve, cinematically,

and his process was so outside

the box that he upset people.

Critics, the industry, agents,

the studios,

so that doesn't help.

He didn't make a lot of friends

in that world while he went

about his sort of renegade

process.

- One of the things people don't

realize in this business is that

likability is a big factor.

I think, even though he did

get better, no one was willing

to give them a shot 'cause

there's only so many movies

by a guy you watch, after which,

you say, no, I'm giving up.

- As a society we've become

less mindful of each other

and each other's efforts.

Then, whether or not we can dog

somebody and put somebody down.

You know, and ultimately,

who does that make feel good?

And especially because most

of those people, frankly,

don't know their ass from

a hole in the ground.

You know, they wouldn't know

how to make a film,

they don't know what it

takes to make a film.

And so, you're dogging

somebody for making a bad film,

but you can't even make

a home movie.

- Filmmaking, to a degree,

is part of what the Razzies are,

but I don't, I'm not sure how

to address your question

about whether I'm a

filmmaker, I don't.

I would certainly expect

Mr. Boll would argue I'm not.

- I don't know if they're

that clever.

You know, certainly none of

them have ever experienced

what it is to actually make a

movie from development

to distribution and understood

the number of moving parts,

and the number of people that

you have to work with

to get that movie done.

That's the old thing against

critics, it's like, you know,

when have you ever risked

anything to make anything?

Like, how can you sit here

and judge other people,

when you're not making steps

to do it yourself?

So, Uwe has put himself out

there, you know.

You could definitely say that.

You know, if Uwe found the

right material

or if the right material fell

into his lap and it was a story

that resonated with an audience

and it was a story that,

you know, Uwe could tell,

I think Uwe could be

a really good director.

Uwe has got a lot of good ideas

and a lot of good instincts

and also too, pace, pace, pace,

I mean movies are about doing it

for the dollar.

- You know, he's making

tremendous effort

to express his point of view.

And, you know, you may

not like every painting

in the gallery but a lot

of is not haphazard.

Is Uwe Boll the worst

filmmaker of all time?

- Absolutely not.

Uwe is far from the

worst filmmaker.

He may be the most

unappreciated filmmaker

and the most controversial

filmmaker,

and he might be very offensive

but he's not the worst.

Is Uwe Boll the worst director

of all time?

No, not at all.

And I've made much worse

films with other people

than I have with just Uwe.

- I don't think that you can

classify Uwe Boll into one

type of movie that he has made

or, you know, judge him by

some of his failures because of

all the success that he's had.

- He also somehow who manages

to raise all that money.

So, there's people who are

shitty filmmakers who also

can't get any money because

nobody will give them money.

So he's doing something right,

he's talking people into

being in his movies,

he's raising all this money,

he has done it over and over and

over, he gets points for that.

- It's art, ultimately.

And we're so busy looking for,

you know, perfection in all

the wrong places.

You know, you can say a guy's

a bad film maker because,

you know, it didn't make $150

million in the first weekend.

Is that a bad filmmaker;

is that a bad film?

- So when a young filmmaker

now coming to me and say,

you did so much, you have

great tips for us or whatever,

I, look, the first thing I say

I'm out of the business because

the business is over, because

movies are shitty investments,

they are super risky.

I would say going into a casino

and gambling a million bucks

on red is a higher chance to

make money as to make a movie.

Japan paid you a million bucks

for a movie 10 years ago,

they pay you now $10,000;

I mean, that is the market.

And I cannot be clearer, right,

so that is the reason I'm not

the good inspirational speaker

to film students because I just

don't know how, otherwise,

I would keep making movies.

With the dissolve of DVD

revenues in rental, Blockbuster,

Rogers, was my refinance

possibility over.

I'm just like, it's impossible

for me to get the money back

if I make a movie and sell it.

For me as a producer,

all this, is very bad.

- He's been a foodie for

as long as I've known him.

And so, for me it seems like

it's such a natural transition

for him to become a restaurateur

from filmmaking because

he has great passion for it.

- I was 50, I saw my movie

career goes to an end

and I needed something

else too, right?

So, it's like I cannot expect,

I can live from the movie

royalties or revenues from my

old movies until I'm 80.

So, I felt like I need to create

another income.

So it was eight months of

renovations and, I mean,

we had to put new floors in,

new, I mean, there was an empty

gutted hole here.

You can break it down like here

behind me, I like around

100,000 dollars, the wine.

Then you have around $600,000

to $700,000 is the kitchen.

We're not only going to be the

best food in Gastown,

we're going to be the

best food in Canada.

So we're really going for do

what is complicated.

If a dish takes three days to do

and to prep, do it!

So it wasn't really a big

decision to say,

let's do it for real

and not like

an ultra-low budget movie.

- He loves food, he loves wine

and so, I think he cut his teeth

filmmaking to allow himself to

realize, if I'm going to start

something new, I'm going to put

my best foot forward.

I'd say he's living his

best life.

He just does whatever the fuck

he wants to do.

And he doesn't apologize for it.

- I think that is one of my

positive aspect but it's not

really, a lot of times it's not

really helpful, that I'm able

to basically retreat myself and

see like ice cold, the truth.

You know, even if it's totally

in my disadvantage, you know,

and you reevaluate what

happened in the last 25,

30 years or 50 years, if you

start from scratch and I think

the main point is that you

don't start lying to yourself.

You know, I'm not this guy

who said I will do everything

the same way like, you know,

a lot of people they say that,

"I don't regret anything".

I regret tons of stuff and I

know exactly where I made

huge mistakes and what you

want to do, cannot rewind

the time and do the Groundhog

Day or whatever,

like it is what it is.

So you have to, at least for

yourself, be honest and explain

why some things happened

the way that happened or why

some mistakes happened,

you know.

I destroyed so many bridges.

I think it was a big mistake

when I was like on the peak

with theatrical releases in

U.S., wide releases,

why I didn't get a manager,

an agent in L.A. who could

now bring me jobs, right,

because it would build

that relationship over 10 years,

now, nobody will take me.

- Yeah, no, the retirement

thing.

Listen, Uwe likes to make films.

And, first of all, when I heard

he retired, I thought that was

pretty silly because, come on,

he's going to make movies,

you know?

He's just a little frustrated

right now.

You know, I'd love to see him

come back out of retirement.

I can't believe that he's

retired, I think he's just

waiting until he can raise money

for his next picture.

- I think he's just hibernating.

I don't think we've seen

the last of him yet.

Yeah, like I stated before,

I'm waiting for his return.

I would like to be a part of it.

He's still got a filmmaker deep

inside and he's still going to

have that drive to be creative,

so, we haven't seen

the last of him yet.

- It's really hard for me to

imagine that he's going to

put a cap on all of these ideas.

He's too much of a maniac.

He's got too much to give,

you know what I mean.

And, and at the end of the day,

he just loves to stir the pot.

So, I don't think that he's

just going to be

a quiet restauranteur.

I don't see that for him at all.

- I went through it all,

so I mean,

I'm used to, you can have

a really bad year, you can

have a really good year, you

know, you can have something

what looks good and then,

a month later it turns into

a total nightmare.

So, for me, it's sad but

it's also, in a way I cannot

be whiny; I made a lot of

movies, you know,

and that is the thing, I have

to just accept it, how it is.