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KENT'S CLASSICS: Behind the Lens: The Uwe Boll Story · Cinema Yūgen

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G'day, that's right, it's that time again. Time for Cinema Yugen!
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Music.
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Okay, Cinema Yugen, the second fan-requested classic this month. Dr. Uwe Boll.
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House of the Dead, Alone in the Dark. Blood rain, seed in the name of the king.
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If these names are familiar, Dr.
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Uwe Boll is a cinematic acquired taste.
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Some people love him, some people loathe him. I was talking to the good doctor
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in connection with yet another documentary made about him at this time.
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Dr. Boll was stepping away from filmmaking. making.
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Now, regardless of how you feel, if you do not know this man or have not seen
0:59
any of his films, you should check them out because each man,
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each artist is but a genre unto himself.
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And never has that been more true than in the case of Dr.
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Uwe Boll. He is a fascinating gentleman. and this wasn't the first and only
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time I talked with the good doctor, but...
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This is one of our longer conversations. And it was always interesting to chat with him.
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So depending on how you feel, here he is, the Van Requested Classic, Dr.
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Uwe Bolland.
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Sorry, I have a little cough.
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The problem is, of course, the fact that the old market, how we know it,
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with theatrical and DVD revenues is gone.
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And now you basically have new players like Netflix, Amazon, Hulu.
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And I'm not really close enough connected to them to make big deals to get a movie financed.
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So my decision to stop making movies was really just forced by films cost money,
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and I cannot refinance in the old way movies anymore.
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So I could come back making movies, but then we need Netflix or Amazon,
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Hulu, whatsoever, stepping up and actually paying a movie.
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I mean, that is how it goes.
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And it's too bad what happened. And so I was basically 50 years old,
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forced to stop making movies.
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Yeah. Oh, that's a real shame.
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I was kind of hoping to write a new A Bowl film one day, but, you know. Yeah.
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I'm glad for the films that you did make anyway.
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But anyway, so we're talking a little bit about Sean Scholl has made a wonderful film about you.
3:01
Yep. It's called Fuck You All, the Uwe Boll story. It's not my choice.
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He said that you liked parts of it, that you didn't like all of it. Is that true?
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No. I'm so sorry about my coughing. No, no, I think it's a very good documentary.
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So it's trying in like one and
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a half hours to basically show a picture of me, what is not so out there.
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And it's not basically only focusing on like the nerds or the reviews, right?
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So, or the fact that I would have a box against my critics. And that is what
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I, when you showed me the first version of it, I said, I would really appreciate
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if you can actually talk about my, or show a little more about my movies.
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The movies are actually different.
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Right so and go a little away from the
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video game based movies and and focus it like that the
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four is a southern wall street rampage tunnel right there
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a lot of movies i did they're basically about the
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real world we're living in and so i think that
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he changed it then and and the new edit like
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the new finished version i think it's a
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good one it's entertaining it's has humor it
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has a lot of people talking about me i
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have and not only people they've watched some movies also because
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i worked with a long time like dan clark the bright knight my ad then collect
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the line producer you know so and i think that is we did a good job and of course
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i always as a filmmaker or whatsoever i always wished more stuff about about my movies and less about,
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fighting with with reviewers i i thought but the one thing i didn't like is
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basically I think the guy from the Razzies got too much space.
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You know, the Raspberry Awards, the Razzies Awards.
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I mean, I never met that guy. He watched maybe five of my movies in total from 30 movies I did.
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And he basically has almost 15 minutes in the documentary where he talks.
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And I think that was a little too much room for a guy like this.
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But okay. I mean, in a way, I understand him too. But I'm very positive about the doku.
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And I think there was that other doku about me arranging Ball years ago that
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was basically only about the reviews and only about the boxing matches.
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And that I didn't like because it's, I mean, I like the boxing footage,
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but I didn't like the way Dan Vest, the filmmaker, portrayed me.
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You know, I didn't make movies for reviewers. I made movies for people and for
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myself, the stories I wanted to tell.
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And I was definitely forced to, in a way, to make all the video game-based movies
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because I was able to finance them.
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I mean, film cost money, right? And I didn't work a lot with subsidies.
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So for me, I needed to raise private capital to make movies.
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And with House of the Dead, after House of the Dead made money,
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I was able to raise more money with Alone in the Dark and other movies like that.
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But as I said to Sean, what really needs to be taken away from your story as
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well is that you are an exceptionally talented producer. Yes.
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As well as a director and a writer and all that sort of thing,
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because like any sensible producer, you needed to go after properties that had commercial,
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you know, that were commercial, that could be, you know, made for a nice budget
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and that had already a built-in audience so that you could sell the films based
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on that. I mean, that's just smart producing, yeah?
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Yeah, I could let you see it this way. I mean, that was a thing also where I
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felt, I mean, being connected here in Vancouver to the film industry,
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and I see so many productions amateurish, going over budget, you know, like people,
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let's take Bryan Singer as an example. I know him since X-Men.
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He shot at the next studio door where we shot Alone in the Dark.
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And he never brought a movie in on budget on time.
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He always fucked everything up and didn't came and stuff like this.
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But then a guy like this got movie after movie after movie after movie and got
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hired by the studios over and over again.
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And every single time, the production ended up going way over budget.
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And that is what the mystery of Hollywood, what I don't get.
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You know, it's like this kind of like why nobody came back to me and said,
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let's produce movies together.
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I mean, 32 movies, every single one I brought in under budget and I didn't get any credit for it.
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I mean, that is the thing. It's so absurd how the film industry works.
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And that is one of the reasons what I said in the beginning with Netflix and so on.
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They also grab the same filmmakers what the
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studios grab before and I have this feeling like if
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you don't have Brad Pitt you don't get a job you know stuff like this but I
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mean another thing too that I was talking with Sean about yesterday is the fact
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that if you had have come along and made your first movie in North America and
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it had been an absolute bomb.
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Financially financially, then you probably might not have gotten a chance to
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make any more movies, unless you did it independently.
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Which you did. Yeah. No, I agree.
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And it's also a thing like when, I remember when Alone in the Dark came out
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and it made only a $5.8 million box office in US and everybody was saying like,
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oh, what a disaster, blah, blah, blah.
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But if you really think it through, look at the last three years, for example.
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You know how many huge movies with huge stars, with huge production budgets,
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made no box office, made a million or two million box offices.
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And, you know, but when I had something, I got bashed into, like, the worst of the worst.
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And other things getting just like...
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Basically.
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Forgiven. They don't care. They don't get harsh criticized.
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And I got overly harsh criticized. And then all my follow-up movies from Postal,
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starting with Postal and so on, got not the credit they should have got.
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And that is the thing that I think only film critics and people like you and
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so on can correct for film history, right?
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So, I mean, to be honest, like a lot of the movies, if I compare my Dafur film
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with Moonlight, who won the Oscar for best movie of the year, I think Dafur is better.
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And Assault on Wall Street was a great movie. Rampage 1 was a great movie.
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And the best I got was that they were okay.
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You know, because people, they're always like, oh, I cannot really give Uwe Boll the credit.
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That has a negative impact on the critic himself if he would say,
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oh, we were like dead wrong about Paul, actually.
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But that is... And that also didn't really come across in the documentary, I think.
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I think I get some credit there, but I didn't get the credit for some really
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important movies like the Duffer movie.
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And yeah, but it's still better.
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There would be no other documentary, Bob. Yeah.
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But, I mean, it's a bit like Keith David says in the documentary that...
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It seems today that the success of a film is based on how much money it brings in.
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It seems the magic number, if it breaks $500 million worldwide,
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then it's a successful movie.
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Yeah, I know. But think about what movies making $500 million.
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Not too many. But that is now what the studios are doing and the streaming services
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doing that $20 million movie. Or $30 million movie.
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And it looks like nobody reads the scripts.
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Everybody basically says, oh, you have Brad Pitt, boom, money.
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You have Will Smith, boom, money.
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Yeah, exactly. And that is when, I mean, I'm a big fan of Netflix,
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like episodical shows, knockoff, whatever, El Chapo, this kind of stuff I really
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like, but the individual movies Netflix are doing are horrible.
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I mean, they're mostly, like, really crap. I
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just watched yesterday that Coen Brothers of Western thing
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they did there I mean I never saw a worse movie from
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the film book really yeah it's almost like
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I don't know they sell them they make their movies what nobody else wanted to
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finance ever and then they make them right but yeah I mean and they're spending
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an awful lot of money I mean I read somewhere that the script for that Will
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Smith Netflix movie they spent nearly four million dollars on the script,
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To buy the scripts. Yeah, I know. That is the other thing that is a miracle for me.
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Some stuff, I mean, the Bright movie, that was an okay sci-fi cop movie kind
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of thing, but maximum okay, I would say.
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But why four million bucks?
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Exactly. Right, so that is the thing. And I just don't get it.
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I mean, I have, for example, a great project where the guy wrote,
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Whitney Bain, And he wrote it, it's about, from Elliot Ness,
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like the, you know, the Untouchables and stuff like this.
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So Elliot Ness was a real cop in real life.
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And before the movie Untouchables basically started, he cleared up his first
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big case was a serial murder case. Serial murder of Kingsbury running Cleveland.
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And a guy wrote like an eight episode, ten episode miniseries.
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And I'm not getting any financing for it. and I
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mean if you think about it like Elliot everybody knows that
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movie Untouchables everybody knows why that
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doesn't get financed whatever you know if
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I would be Ron Howard I would just get a check and
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it would be financed and that is the thing where I hoped with the streamers
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like Apple Google whoever goes in content that they also kind of pick sometimes
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different people they were not really in the studio system to produce for them But they don't.
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They just hang out in Hollywood and with name-dropping, and most of the production
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companies who they work with have an actor as part of the production company.
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That is the new green-lit situation.
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It seems to be a very incestuous town, Hollywood.
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Would yes and it's
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you know it's really like who knows who the agent knows
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the producer the producer news the studio and
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and and instead of going against the trend and also doing maybe things totally
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against uh the old-fashioned way i have the feeling that amazon and whoever
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enters that business they are just fascinated and want to be part of it yeah
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you know they're They're not saying,
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now we rewrite the business and we go away from that stupid manager,
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agent, Hollywood, as we know it, and we just look plainly at the facts and go
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also with producers with a cycle record.
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They can actually deliver on budget. They don't go over budget or whatever,
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but no, they do the same thing what everybody else did before. Yeah.
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One thing I thought was interesting in the documentary that Sean put in there,
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it was a comparison to you or your films with Tommy Wiseau and The Room.
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That kind of boggles the mind. Have you seen The Room?
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Are you familiar with Tommy and his... I mean, I watched the James Franco movie. Right.
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Right, right. And, yeah, and I think of... But, look, that was before with Ed
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Wood, for example, you know, when they compared me to Ed Wood.
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But I think it's just total bullshit.
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Yeah. I mean, that is things what is really annoying for me and totally absurd.
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And it's also, I mean, I love the movie from Vince Franco.
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I think it was funny, you know, like Tommy Wiseau was so convinced from his
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thing, he went fanatically to make it happen. and even, I don't know,
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to this day nobody knows where the money came from.
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And I think it's an interesting thing how he got it together and spent so much money on a crap movie.
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But at the same time, you know, Ed Wood never had really money to make movies
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about these kind of stupid, childish things.
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And he only got like kind of celebrated based on the movie with Johnny Depp, from Tim Burton.
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It made him kind of getting famous.
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But in my case, I mean, it's just not true.
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I mean, I studied economy. I made
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32 movies. The production volume I moved around was 500 million bucks.
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So, I mean, I went public in Germany. That is also the thing.
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When you listen only to nerds, then people basically oversee that I'm an absolutely
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sophisticated business person.
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Exactly. And, you know, I never had a debt. No company from me ever folded.
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No. And that is the thing also where I, with Sean,
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when I was sitting there and gave a real long interview to him,
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I mentioned all of this, but he didn't move further into this chapter because I think it's too boring.
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You know, it's maybe only interesting for actual film people.
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But I think, of course, that is the real, let's say, sensational thing, what I did.
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I mean, I know a lot of filmmakers, right?
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And I think that a guy
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from a small town in Germany with no
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connection to the film industry and not rich parents basically works his way
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through it and even solves the financing problem in a way and brings things
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with his and Steph's and whatever Chris and Fred are thinking through life.
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That is the real let's say work I did where I should get credit for and bringing
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all the productions in without owing people money, without fooling people over.
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I think that was the point and when they always said oh I used German tax money,
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that is so strong and so idiotic because there was no German tax money they gave to you.
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You had to go around and find investors in your product.
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And besides me, maybe 200 other directors tried it, but they didn't raise any
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money because they didn't make profitable movies.
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And that my money grew every year up to in the name of the king before then
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Germany stopped that kind of investment was because I returned money to them.
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And when you read it in the press, even in the sophisticated press about me,
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it's all I've written it.
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I abused the taxes for such a reason. It's completely bullshit.
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And the fact is that if you, let's say you're a dentist, whatever,
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you invested $100,000 in the film, then you would not pay taxes on the $100,000.
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Right. But that means also, and it reduces your income. So you basically save $50,000 for taxes.
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But you still have $50,000 in risk.
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Right. And you don't want to lose that. You know, like if my investors would
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pay taxes and never, they would still have 50% cash in their hands.
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So, of course, nobody invested in any movie in the German sex shelter funds.
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Tank his money or hopes that the
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movie would not make revenues that is completely wrong
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in the press on wikipedia everywhere they never
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digged into it and got it right and they all invested to basically to shift
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paying taxes to a later date but they all hope that the movies come in with
20:08
profit and generate revenues that spread over the next like up to 10 years so
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and that That is the thing.
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And there were so many German funds, mostly from banks or financial institutions,
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they completely failed.
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They financed Lord of the Rings. They financed Mission Impossible, whatever.
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And they never got paid by the studios. They got completely screwed over, the investors.
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And I made my own movies, kept the control. And of course, there were also movies that failed.
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But everybody got at least 30% back, 60%, one fund, 120%. 20%.
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So at least I created revenues for them additional to the tax break they got.
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And they know that I will account properly.
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And that I miss in the movie. That it's never mentioned what I got told you,
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basically, what people can hear in your podcast.
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I hope that that would be in the movie.
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I personally think it's fascinating. I really think you could...
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We could all profit, Certainly people who love movies and are interested in
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making movies could profit so much from lectures from you about simply producing,
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forgetting about, obviously you could put writing and directing and everything
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else that you do in there.
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But I think your knowledge and your skills, people are very ignorant of how
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difficult it is to put a film together.
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Not just the financing, but the shooting, the editing, delivery,
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advertising, the whole package.
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Yeah. I mean, that is another thing. what I felt when they would have House
21:53
of the Dead, Alone in the Dark, when they're getting marked up like trash,
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whatever. But they are not.
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You know, the crews I had, from the stuntman to the CGI artist,
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they were all A-list people.
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They all have, like, you know, the army and milching guy who cut Dungeon Siege,
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he cut it, iRobot, as an example.
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So I needed to think I think that Julian Clarke who composed it got the Oscar
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for he did Deadpool later for editing and he got the Oscar for the thing from
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South Africa, what was the name of it?
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Was it Grandma Gertrude Thoreau, I think it was Neil Blomkamp that did a movie
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in South Africa, that sci-fi movie.
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I mean, it's a thing. It's completely absurd to say Uwe Boll is like Ed Wood.
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I mean, I had around me the people I worked with are delivering non-stop movies
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on the highest level of studio quality.
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And to say it's total bullshit, it's total trash, it's just wrong.
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I mean, Alone in the Dark was not a great movie. Other than that, it's not a great movie.
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If it ever based on shooter video game you know so don't
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expect too deep of a story and to say
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they were totally shit in regard of
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editing camera lighting CGI done
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it's just absurd it's not the truth you know and that is I felt like this kind
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of in my case it was so a wave of negativity that it's like completely spaced away from any kind of,
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a chance to get a proper a
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proper credit or a proper analyzing
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situation of how that movie got done and
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how they were distributed and whatsoever I mean it's just and there was a reason
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at one point I also left that behind me you know I mean I could not kept reading
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the reviews and only dragged me down so I just at one point felt like forget it,
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If there are things that don't change, there are things that don't change.
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So focus the time to convince the critics, focus on trying to sell the movies and make the money back.
24:19
There's one thing I think that's missing from the films that have been made
24:23
about you and certainly a lot of the press that's been written about you is
24:27
your utter and complete passion for what you do.
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I don't think that comes through in anything I've seen or read about you.
24:37
Because I think you're an artist of great passion for what you love,
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and I don't think that comes across sometimes.
24:48
Yeah, I mean, that is the thing also. I mean, as a German, I wrote a biography,
24:53
right, but it's only in German language so far, where I really wrote that down,
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that the reason for me to make movies or to go into film industry had nothing
25:01
to do with money at all, and I didn't make any money before I was like overshadowed.
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So, you know, like my German movies, I put all my money onto it and time and everything.
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And we traveled from movie theater to movie theater.
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You know, like whatever, you get like 120 bucks from the movie theater,
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but you have to sleep in the shit hotel on your own cost.
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You don't make any money, but you try to build a name for yourself.
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And this kind of grinding I did for years and years, you don't do this if you're money-driven.
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You do that if you really want to make it in the film industry,
25:38
to make the movies and tell the stories you want.
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And that was the initial motivation when I told my mother when I was 10, I want to make movies.
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So it has never anything to do with money.
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But then when you're actually in the business and you start making movies,
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you see movies are expensive.
25:57
So that means the whole time you have to think about money.
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Like where you get the money from to make a
26:04
movie and and i just watched you know
26:06
on netflix the orson welles doku they love me when i'm dead about orson welles
26:12
and and i mean he was cut out from bollywood and for me one of the biggest geniuses
26:16
of all time in film and one of the reasons i want to make movie and then they
26:21
how they the last 25 years of his life that basically let him hang Ang Kool,
26:25
and all his work,
26:28
all his trying,
26:30
was to get money together.
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That was his life, right? He tried to get investors outside of Hollywood.
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And that is the reality of the film industry.
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In the end, it boils down to money.
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And to make it hard for somebody like Orson Welles to get money together is,
26:50
for me, still the biggest crime Hollywood ever did.
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I mean, you have a Van Gogh in front of you with Orson Welles,
26:59
and they fucking let him basically die.
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That is what they did. And the whole loop that he's with Macbeth,
27:07
Othello, Apple Pay, all that stuff was financed in Europe, almost with no money.
27:13
I mean, what a crime from, you know, how many people at the Oscars and in the
27:19
studios would always say, Oh, God, Citizen Kane's the best movie ever.
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Yeah but then you have to say like yeah but otherwise it's still alive I want
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to make movies why the fuck you don't give him a penny exactly I mean that is
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the thing what I think it's so unbelievable right so it's like that the biggest artist who,
27:35
made one of the best films of all time got completely.
27:40
Bashed into the ground forgotten and nobody gives a shit about it yeah well
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as he famously once said it's uh it's 99% hustling and 1% movie making that's
27:50
no way to spend a life Nice.
27:53
Yeah i agree and it's that is the thing it's it's it's a very expensive hobby
27:59
right so and it's too bad that like whatever let's say larry alexand his daughter
28:05
megan allen doesn't see whatever got a billion bucks and and she produces only
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crap right so i mean that it's the thing it's like.
28:13
Why not one of that billionaire is an uber ball fan right you know like that
28:19
would help me but But they're all fans of Terrence Malick or whatever,
28:23
or Paul Thomas Anderson.
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And then they give them money, and then they make the worst films of their lifetime
28:28
with the money of the billionaire.
28:30
I mean, that is the thing. It's so absurd, too. Like, it's almost like if people
28:33
are getting on a different career path, they lose their bite. Yeah.
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And I never did that, everybody. If you see my movies, they're all very,
28:45
very gritty and very, very confrontational and direct storytelling. telling.
28:50
And, I mean, Paul Thomas Anderson's There Will Be Blood is my favorite movie of the last 20 years.
28:56
And then, as soon as he got financed by Annapurna Pictures, he turned into an absolutely idiot.
29:02
I mean, look at that movie, the math, all that other stuff with jerk and foot. It's completely crap.
29:08
And Charles Malick is like straight away in a different dimension of filmmaking,
29:15
where you feel like, what the fuck is he doing?
29:17
But he's not telling us a story. it's just like putting music together and faces
29:22
of prominent actors and they're all like oh Terence Malick of course I play
29:27
for you a movie where I say two lines and only stare in the fucking sun.
29:32
You know I mean they completely lost it I mean and I think that it's so funny
29:39
because they are so laughed by the reviewers so the reviewers have so much problem
29:44
to say how it is yeah you know I mean And did you watch Phantom Threat with Danny Day-Lewis?
29:50
I mean, how can the same director, actor who did There Will Be Blood,
29:55
shoot a movie like this and don't tell them halfway through,
30:00
what the fuck are we doing?
30:03
I know, I know. We don't do movies. There is no story to tell.
30:07
That's just completely BS what we're doing. I know. I completely agree with you.
30:12
I believe that There Will Be Blood is one of the last sort of great films that I've seen anyway.
30:18
But like you said, Terrence Malick and Thomas Anderson, their last films have
30:25
really been what I consider just arthouse wanks.
30:29
You know yeah yeah it's kind of like i'm
30:32
i convinced megan allison she just gives me
30:35
70 million bucks i shoot whatever the i want
30:38
and i feel good yeah and i
30:41
pay myself five million bucks a director salary and nobody
30:44
cares so i mean that is the thing where i feel like that it
30:47
is also like i mean that that lines stay hungry
30:50
i think is very important and they
30:53
they didn't stayed angry so they you know like
30:56
i think you always have to make the movie
30:59
in a way that it's your last move yeah and
31:02
and you know like like and don't pick mediocre subject matters pick things they
31:08
really matter and and i think you know this this why i stopped after rampage
31:13
i think in rampage two and three i turned so political that i mean i nailed
31:19
the situation with Donald Trump now.
31:20
I mean, look at Rampage 3. Who gets shot right off the bat is the president of the United States.
31:25
And that was before Donald Trump was elected president.
31:28
And I think that that is the thing. I think I try always to do things that really matter.
31:35
And the Southern Wall Street, about the bailouts, or the genocide in Sudan.
31:40
I mean, I did the Dafur movie because the murderers in Sudan are still ruling
31:46
the country. They never got indicted.
31:49
They never got arrested. They never, you know, so they hacked 450,000 people into pieces.
31:55
And because Sudan is not interesting for people.
32:00
Us, basically. They stay in power.
32:04
And then we're killing, we go and then get whatever Gaddafi has to go,
32:10
or Mubarak in Asia, because they are so horrible, horrible dictators.
32:14
And it's all a cover-up for the interest the West has in the oil.
32:20
And, you know, I mean, it's so obvious and so absurd.
32:24
And, I mean, look at now, like, how can we have any kind of relationship with Saudi Arab.
32:31
I mean, they hacked that guy into pieces, the Khashoggi guy,
32:35
and basically murdered him.
32:38
And I mean, how can we continue like nothing happens to countries like this?
32:45
Absolutely ridiculous. I mean, it's really like, I mean, that is the thing what
32:50
really is on my head right now.
32:52
It's really like how the world turned into the most possible catastrophic situation
32:58
right now, ignoring climate change, and at the same time, one democracy after
33:04
the other turns into a dictatorship.
33:07
I mean, where the law, the truth, nothing matters anymore.
33:11
Free press, freedom of speech, all that gets slowly removed.
33:17
And we are in bed with the worst countries in the world.
33:22
I mean, it's true that all the terrorists of September 11th were Saudis.
33:27
From Osama Bin Laden to the pilots. They were all Saudis. They were not Iraqis.
33:32
They were Saudis. And they're our biggest friends.
33:36
Because they invested a lot of money in the stock market and bribed a lot of Donald Trump hotels.
33:41
I mean, that is the thing. It's completely, it's so dirty that it's really,
33:47
really making me feel to throw up.
33:49
I mean, that is the world we're living in right now.
33:52
And there was a different world where I grew up.
33:55
It was really a world where I think I think the standing up for principles and
33:59
moral principles was equally important based on all the lessons from the Second World War on,
34:07
that you cannot bend over only because of money,
34:13
but the main principles of the Constitution,
34:17
we live together, right?
34:19
And the thing, I think, with Saudi Arab, that they always were bad to the people.
34:23
They always, whatever, executed people in public.
34:27
They were always pieces of shit, the Saudis, basically.
34:30
But with the Khashoggi thing, there was a message from them that they can kill
34:37
people in other countries and getting no penalty for it. Yeah. Yeah.
34:44
That was the message and and and you know what the message
34:47
is successful yeah i mean
34:51
and think about it the poor people who basically the killer commando they are
34:55
all now getting perfectly prosecuted in saudi arab and they will all get executed
35:00
right i mean what is this that is that is uh i mean think about it you are basically
35:07
a killer commando guy for the saudi print,
35:10
you fly in a private jet to Turkey, you kill a guy, chop him up, and get rid of the body.
35:15
Right. And then you get executed by the guy who told you to do it.
35:20
And the whole world says, okay, justice is served.
35:25
Unbelievable. I mean, that is really like whack the dog style.
35:29
You know, that would be like, normally you would say that can be only happening
35:32
in really heavy satires.
35:35
You know, that is exactly the world we're living in.
35:38
Nah. Ah, and people really don't want to deal with it. I mean, it's powerful stuff.
35:45
It's current, but they'd rather go and see like a Marvel picture or something.
35:51
Yeah. Yeah, I mean, that is what, when you listen to my Uber Raw thing on YouTube.
35:57
Yes, I do. I'm a big fan of yours.
36:00
I'm a big fan of yours. Yeah, you know, the last one I put up yesterday where
36:03
I said like, if you think about Wonder Woman.
36:07
Yeah. or Black Panther, that they made this typical Marvel superhero bullshit
36:14
and tried to turn it into...
36:18
A movie of women are strong or black lives matter i mean it is absurd i mean
36:26
if you just just see plainly simple the movies there are nothing else as yet
36:32
for kids entertaining big big cgi driven,
36:38
action movies yeah but there is no second level in black panther black panther
36:43
is a stupid movie movie, the same like Avengers or whatsoever.
36:48
So, yes, sometimes it's popcorn movie time, and you just don't want to think
36:51
about it. You watch stuff like this, I have no problem with it.
36:54
But what I have a problem with is that they're trying now to make Black Panther
36:59
like a follower of Martin Luther King or something. I mean, that is the thing I have a problem with.
37:04
That this movie is even getting in the run for best movie of the year.
37:11
It's like unbelievable that they even think about bullshit like this and that
37:16
the same happens with Wonder Woman.
37:18
I mean, you know, you have reality, you have a mediocre actor in a miniskirt
37:22
playing Wonder Woman and they make it like whatever, all Harvey Weinstein victims
37:28
love Wonder Woman because the woman is the strong person.
37:31
I mean, what the fuck is wrong with all that people? And that is also in a way
37:37
with what happened to the press because they're also part of conglomerates now.
37:43
Yeah. You know, so it's like they also lost any kind of buy it.
37:48
They know that it could be a big problem if they actually release a review of
37:53
a movie like Black Panther that it's a complete piece of shit,
37:56
zero out of five stars in the Washington Post that will have consequences. Yes.
38:02
You know, that would have consequences. So they all try and I see that in various
38:06
movies in the years and years now where they try to squeeze something positive out of,
38:13
where nothing positive is in, and give it two stars or three stars out of five
38:17
so that they get away with it, you know.
38:21
So, yeah, that is very interesting to see that.
38:24
But that is also a big symptom, a big problem we have in regard of reporting. Totally.
38:33
So now, Dr. Baldit, you're not making pictures anymore and you can simply go
38:40
to the movies or watch movies. Yes.
38:42
Probably the way you did before you started making movies yourself.
38:47
Are you enjoying watching films simply as a viewer again?
38:54
Instead of having to... All my life I've watched films and TV shows and so on.
39:00
And if a story can get me in, so basically that I have a real blast watching this.
39:08
I'm also a victim of binge-watching on some stuff. We're really like,
39:13
whatever, watch 10 episodes in two days.
39:16
And I mean, that is the thing. Of course, watching a lot,
39:19
but there's also a lot of stuff what you basically can watch only if you,
39:24
whatever, read something parallel or make something else because it's too boring.
39:29
Or a lot of stuff would get shot.
39:32
You already know after 10 minutes in what direction it goes.
39:36
And then it's kind of time put apart, forward button.
39:40
And I mean that is the reality but I'm always on the hunt for things that grab
39:47
my attention and keep my attention and then I enjoy it and I'm happy that I
39:53
watched the movie or happy that I watched the TV show Yeah,
39:57
well I think that's a good place to end Dr.
39:59
Ball because I have always loved
40:03
and enjoyed your work I'm very glad
40:06
to have had a chance to talk with you this
40:08
morning it's sad in many
40:12
ways that you won't be making movies anymore but I'm so grateful that you did
40:15
make movies and that those films will last forever and I wish you all the best
40:23
with your I know you're a restaurateur now you have a wonderful restaurant and
40:28
you're hoping to open more I understand.
40:31
More restaurants? Yeah, I mean, we maybe open one more restaurant,
40:34
but I'm not in, let's say this way, we cannot compare it to the move.
40:39
You know, it's like nice to have a restaurant, good food. You have like different
40:44
kind of problems in a restaurant.
40:46
But for me as the owner, like when I set everything up and I got the people
40:50
together and so on, then I only, I'm there now to bring guests in.
40:55
And always when we put a new menu up, I tell my opinion and maybe change something.
41:00
Some items or change some dishes, how they are.
41:05
But overall, it's not so work intense as making a movie. Yeah.
41:12
Anyway, look, God bless you, sir. I wish you all the best. Thank you.
41:16
I hope you... Thanks so much. I hope they keep making good movies to keep you entertained.
41:23
Okay, perfect. Thanks so much. Okay, bye. Yes, that was Dr.
41:28
Ball. there'll be a link in the description if you
41:31
know his work well you may not want to if you're unfamiliar you should check
41:37
him out you should give every filmmaker a day in court because they all set
41:43
out passionately to make films regardless of how that comes across,
41:50
it's all done with passion just like everything here
41:53
on cinema eugen and as always thank you you little yuganites for listening to
42:01
us on spotify or wherever you choose to listen to your favorite podcasts i'm
42:07
kent hill and we'll see you next time on the one and only cinema.
42:13
Music.