Latest / Cinema Yūgen / 23 Years Later: Uwe Boll Storms Back — Return to Zombie Island

Transcript

23 Years Later: Uwe Boll Storms Back — Return to Zombie Island · Cinema Yūgen

0:00
G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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Welcome back, Yugenites in a world that demanded apologies. He threw punches.
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They called him reckless. They called him the worst. They tried to bury his
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name under punchlines and petitions.
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Ua Bol answered with films, with fists, with fire.
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From the chaos of House of the Dead through the infamy of Alone in the Dark
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and Blood Rain to the fury of Rampage, Tunnel Rats and Da'afor.
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Bol never bent, he endured.
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When the critics came, he stepped into the ring.
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When the industry turned away, he kept making movies. When the world said retire,
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he vanished, only to return.
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Now the architect of Cinematic Rebellion reclaims, or returns to reclaim,
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the island doctor, Uwe Bol, enters Cinema Yugen to unleash.
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23 years later the return of
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zombie island a resurrection born
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of cult loyalty indie defiance and
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an unfinished war this is not nostalgia this
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is not forgiveness this is legacy sharpened into
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a blade cult cinnamon never dies get over
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to the indiegogo now and join the journey
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23 years later a return to zombie
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island and now yugenites welcome
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him back to cinema yugen the
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legend dr ua bone yeah
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hi thanks for having me again time goes by
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fast right so mate time flies when you're having fun the last time we spoke
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you were you were out of movies and becoming a restaurateur but as I said before
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we started recording thank goodness the movie gods have smiled down and you
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couldn't stay on the sidelines too long and I'm glad you're back.
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Yeah, restaurant is nice, but it was not enough for me to say,
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okay, I will do this now forever.
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I mean, I wanted to make movies since I'm 10, then I made a lot of movies,
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and I felt after four years, no, I have to keep making movies.
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And then came the whole COVID stuff, you know, that delayed a lot in a way.
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But then I jumped in with First Shift with a cop drama from New York and Run
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with Amanda Plummer and Citizen Vigilante with Armie Hammer.
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It still has to come out an action film.
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And now I felt House of the Dead. I felt two, three different things at the
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same time with House of the Dead.
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Now a lot of video games are basically the hot shit now.
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So everybody is doing video game-based movies or TV series.
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And a lot of people I talked to said, look, you paved the way for us, blah, blah, blah.
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And I said, but I didn't get any credit for it. And I got bashed into the ground for it.
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I'm like, oh, that's great. You just buckets of shit for it.
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Yes you know and then i read that the
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sega wants to do with paul anderson a house
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of the dead movie like a 50 million dollar big house of the
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dead movie and i was very mad about it you know
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i felt like okay why not using me why not
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doing something with me and just going with paul anderson who made also a lot
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of video game best movies but different style right so and i felt like house
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of the dead over the years turned into kind of a cult movie because it was a little campy,
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nudity you know like this kind of horror movies
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they have you have fun to watch not horror
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movies but what makes you totally depressed in a way and
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you know and this kind of horror movies in a way like scream
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or whatever you know where you have like this kind of
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a good time watching it and there are not so many anymore like that so i felt
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okay okay if they don't want me then i asked the cast from from house of the
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dead the original cast jonathan sherry or nagrawa would you come back would
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you do it again basically right so and they said yes we do.
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So, of course, the title makes fun out of 28 years later, but it is 23 years
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later since House of the Dead.
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Yeah, sure. Well, why not playing the name then?
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If I cannot name it House of the Dead, if I do 23 years later and return to
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Zombie Island, I think it makes sense.
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And I felt, let's have the fans participate. You know,
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that I don't have to erase maybe so much money with pre-sales and everything
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that I can have like perks out there and people buy the way into the movie to
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be into the movie as zombies or buy pre-buy a DVD, a Blu-ray, whatever.
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So as a part of the financing, and that goes out now on Indigo Go,
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we were supposed to be out today, but we had technical problems there when we
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were loading it up, the perks.
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It's like you have to load it all up, but then you cannot release the perks in one junk, basically.
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So you have to release like two, three perks every three days.
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And we didn't put that in the computer, basically.
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And that's what we're doing right now so that hopefully tomorrow
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it's out there and people can actually buy
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some cars cool yeah no i definitely yeah i
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definitely know i'll be going over because when i when i usually support
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these campaigns i usually just buy uh or
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or pre-order the the dvd or whatever the however it's going to come out because
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i'm one of those old school guys i still like to go to the shelf and and and
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get it and that way i don't have to worry about if it's on netflix or or whoever's
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streaming it i've got it over on the shelf there so i uh i know that it's,
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No, I'm a big fan of various of my hard drives were dead in the end,
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you know, and everything I taped was gone.
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But if you have a Blu-ray or DVD, it stays basically forever,
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you know, and you have the making of, you have the trailer.
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And I'm kind of famous for my director commentaries.
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Yes. So, you know, and I'm mad that the director commentaries are in a lot of
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countries not existing anymore. That's true.
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Because they don't do the DVDs anymore. And in Germany, we still do Blu-rays
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and DVDs and my commentaries are on.
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And I always tell them, put my English one on too, not only the German-speaking
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one, because a lot of countries, they cannot get the DVD at all.
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So they can at least, and they don't understand German, so they at least can
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buy the German one maybe on Amazon and have the English commentary on it.
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They make very nice steelbooks there in Germany.
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The discs yeah and media books and
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so on it's still like what the lp is
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for music is is here still the blu-ray and
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i mean of course the market shrinked brutally
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but that u.s basically dropped
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the ball on it it's very hard you
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know so and most of the what i'm doing now
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with a lot of my older titles and also with
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first shift we want to do this i exclude the
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dvd blu-ray rights from the u.s deal i'm
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doing so whoever buys it i say look i
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keep that right and we're not coming out first with the blu-ray but we will
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come out with the blu-ray because there are a lot of boutique little blu-ray
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companies you know like and they're happy to get my movies and they do like
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more media books and say look it's 880 limited edition signed by uber you know stuff like this and.
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In earlier years, you gave the rights away for territory and all the rights were gone.
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And then I recognized they never do anything with the Blu-ray.
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They're not releasing it.
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And then you ask them, can I get the rights back? And they're like,
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no, we have it, right? And that's where I changed this now with all the new deals.
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Also, Statistics and Vigilante will have a media book and a DVD release, a Blu-ray release.
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That's the way, that's the way to go. Was it, was it an easy,
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was it an easy decision going back to a film that's kind of a bit like,
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is known a little bit like your sort of Baron Munchausen, your House of the
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Dead is kind of like a film that like Munchausen followed Terry Gilliam around for years.
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Was it an easy decision to want to go back to it for this 23 years later,
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or did you take some convincing?
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No, I mean, there is, let's say, properties I have a positive feeling about.
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And House of Zedet, even if it started the bad reviews about me,
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you know, it was fun to shoot that.
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We had a great time shooting it.
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Jürgen Perotno, Clint Howard, we all had a great time shooting it because it
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was kind of silly, right?
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We did that funny version of it, too, because we were in the mood making jokes about all of this.
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And I enjoyed it And I think to do something again like this Would make me happy You know,
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so There are movies where you have like You're disappointed about the Maybe
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the success of the movie Or disappointed about the reviews But when you remember
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the shoot Then you feel very good about it You know,
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like all three Blood Rain movies The shoots were horrible They were horrible
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experiences You know, that was,
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whatever called corruption like the chaos in Romania with the people wanted
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to rob us, Michael Metzner had guns, like all this stuff was always drunk.
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And the second, didn't on the second one, you nearly burnt the.
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We burned it down insurance case and life danger for a moment for everybody
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because the gas heaters exploded and it was not a good time,
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during the shoot and it was freezing cold like all three where we shot,
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but of course when you write later about it when I wrote like here in the Bermanian
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books I wrote an English kind of biography I can send you the link right so and uh.
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You write the most funny stuff About
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the shoots Who went very bad You know And
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very Like where you had A lot of accidents And stuff like
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this It reads good But House of the Dead Was
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great to shoot And was a great experience And the same was In the Name of the
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King With Jason Stassen That was really With Postal My favorite movie From the
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shooting Like from the From the actual shooting Of the movie Postal And In the
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Name of the King Are my two favorite films Of all times I made, you know,
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but would I say Dafur was better, you know Rampage, there may be the better
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movies Got better reviews, but.
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Fun was more To shoot Postal and in the name Of the king, so Yeah,
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and I mean also that Was, as I said, it turned also Into kind of a cult movie,
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we recently Showed it in Hamburg again There were 200 people in the movie theater
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And I watched it the first time on screen After 20 years And everybody had a blast
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you know and everybody was like laughing and
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like like mystery science theater style you
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know like don't go there you idiot you know
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stuff like this and yeah and i
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felt like no i'm on the right track trying to do something
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with the same actors again if the actors would not
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did it if they would pass on it i would not do
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it i would i would not not do
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like a completely new house of the dead not connected to the first
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one i would not do that but the fact
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that they all right away said of course i would do
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it it's not because they all need money i think it's
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more because they also remembered they had a good time yeah
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so so the old uh some of the old wisdom where they talk about like if the film
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was really a terrible shoot it turns out to be like a critical success doesn't
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really hold true like you can have a great time you can have a great time on
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a movie and the movie can still turn out to be critically lambasted.
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As opposed to having a really shit time and the movie could turn out to be like
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a critical darling or something like that.
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No, I 100% agree. I mean, I read
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a lot of biographies or watch docus about directors and stuff like this.
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And some people say, as you said, like the worst shoot and then you have the best product, right?
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Or you make a movie where everything's flawless and it's a total piece of shit.
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And I think, yeah, that both is real And can happen But I think also You can
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have a super smooth shoot And the result is great Right You know And you can
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have a very bad shoot And the result is a disaster So I think All that things can actually happen.
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And, you know, and that's the reality. I mean, first shift one,
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we had a total shit show in New York with our line producer fell apart.
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Then half of the crew wanted to unionize during the shoot and went on strike
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and they were gone, basically.
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And then I was my own AD, my own script girl.
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I carried the wardrobe, you know, and stuff like this. And the movie turned out good.
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I mean, but do I want that every show I do? Absolutely not.
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No. You know, it was a horrible half, after halfway through,
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that as a half, was a horrible thing because you felt every day, are we able to shoot?
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You know, is the sound guy coming? Question mark. You know, like stuff like this.
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And you don't need that a lot in your film career to have a situation like this.
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Yeah. Well, especially when you've got to write it and direct it and do everything else as well. Yeah.
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I know. I mean the only good thing It
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started like When I did my first movie German Fright movie Like
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30 years ago The only good thing is
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If you made so many movies That I basically can do
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Almost every position Right You know
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So it's like It's not like Oh the script girl Is
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not there anymore Who gives a shit Right So I
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make some notes And send it to the editing So it's not like The
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end of the shoot Because we don't know What
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to do And I mean My German cameraman Matthias
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Neumann with me and he has like two three german technicians
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with him and if the shit hits the fan they
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have to do the lightning too and they have to do the
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grip and they have you know they basically can do it all if there's nobody else
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doing it and and i think that's very important to have this center crew people
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you work with for 20 years who will never leave and who will Always perform
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Even under the biggest shit,
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Situation, you know, we're just saying No, no, no, we have to keep going here And that's very good.
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You know which is which is primarily to which
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is something that separates professionals from amateurs to
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the fact that you've been doing it so long if the
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cameraman drops out for any reason you can pick up the
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camera and shoot it yourself or edit it or
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edit it yourself or you know if you
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have to jump in and do the lines i'm pretty sure
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you could jump in and play the part if you had to couldn't you yeah i
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i try i did that a few times as a cop but uh i'm
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not an actor but if let's say there's somebody not
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coming who has two lines this i will get done right so you know like the robbers
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are in the back what should we do whatever so this i could play as a german
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cop in new york so but but in general i think it's better if i'm not acting
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too much uh yeah but that's true it's like it comes with the.
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Situation that in the first two or three movies, we did the camera.
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And I mean, now it's way easier with the digital cameras as with the 16 or 35 millimeter types.
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And so that's definitely also what I tell to younger filmmakers.
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I say, look, it was never easier to shoot a movie in a way from the technical point, right?
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So you basically don't need a lot of light anymore.
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You don't need a lot of grip you can just shoot it always a little 4k camera
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and it you can make it in post-production that it looks like a real movie so
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i mean that's the thing you know and that's the good thing for the new generation
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so um so speaking about speaking about the new generation and new beginnings.
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What is the landscape, the filmmaking landscape like since you had that break
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and then came back with sort of,
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you know, did it, I know it probably didn't change a lot, but what was the landscape
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like having gone away and then come back the way you did?
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I mean, I came back in a time where nobody was working because of Corona.
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It was easy to get people, right? So easy to get crew and also for lower money and stuff like this.
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But the landscape is basically now When I just went in November to Los Angeles
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For that film market And it's really like You have the feeling all that buyers
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Like the foreign buyers, distributors.
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They're almost the same people like 10, 15 years ago. You know a lot of faces, a lot of companies.
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But what they're doing is now they just buy the territory and sell it to the streamers.
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In earlier years, they were putting movies out themselves in the media, in the movie theaters.
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They were putting the movies out on DVD and Blu-ray.
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And then they maybe did a pay-per-view deal. And that was the thing.
19:09
Now, they're all, I think, not buying also on a trailer. They don't buy on a trailer at all.
19:15
They want the whole movie because they want the backup in their country.
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You know, the Japanese buyers, whatever, they go to Japan and they go there
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to Netflix and say, are you buying that for Japan if I buy it now from the producer?
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And then before they get a yes from Amazon or whoever it is,
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they're not offering any money.
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That's tough. You know, that's very tough with the sales.
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And pre-sales that you upfront sell a movie is almost impossible.
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Because only if you have like Jason Stassack or something. If you have a big
19:49
star, you can do a pre-sale.
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But if you have like good cast, but not big, big cast, they will all say,
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good luck. When the movie is done, we watch it.
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So they leave you alone with the problematic financing situation.
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And if you go to the streamers yourself, there is basically a lot of complications
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because of their diversity.
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Like, you know, all these kind of writers you have to fulfill and all this kind
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of like algorithms they put the movies in.
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They 100% when you send a script, it goes straight into the computer and they
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just listen to what the computer says before they read it.
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You know, I'm 100% sure like they're reading the script only if the AI tells
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them that could be good, that's good for Amazon, that's good for Apple,
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Then they maybe read the script, you know?
20:45
That's a huge problem. And I think business-wise,
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the biggest problem is that if you sell the movie to the streamers,
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like we sold First Shift, one to Paramount Plus for North America and Showtime,
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and Ratnet, I'm on a Plumber movie, also recently sold to them.
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But the problem is you get 10 cents on the dollar. You know,
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it's not like they pay you the full budget back.
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They pay you like 10% of the budget, 15% of the budget.
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So now how you want to finance the rest Like you need tax rebates You need way
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more sales Foreign sales,
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Australia had a lot of buyers In the earlier years
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Now I don't find an Australian film buyer for my
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movie You know like all their films Are not sold to Australia right now And
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it's absurd because it's English language So it's They don't have dubbing costs
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or something They just can't release it right But there are a lot of Australian
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Like Horizon I remember There were a lot of Australian buyers in the early years.
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This year at American Firmarket was none.
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Like I couldn't find one Australian buyer.
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Yeah, no, it's become very, like you say, it's become very selective and very
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boutique, as you say, unless it's the big time, unless it's the mainstream,
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unless it's the, you know.
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Or the total art house, right? It's a way where you have this,
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oh, he just won Sundance.
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And, you know, and then that gets sold because it won Sundance or it won Khan or something like this.
22:19
And a lot of that movies, shit, to be honest.
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Like, I have the feeling like a lot of the movies who actually get into that
22:27
film festivals, they are not entertaining at all. And they're like, you think like,
22:33
When you later watch it, when it's on stream, you're saying,
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why are they paid five million bucks to acquire that movie?
22:39
What was like a million bucks to shoot?
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Then at that point, they overpaid, right? So then they totally overpaid.
22:46
Then they're releasing the movie on Netflix or whatever. And then they're like,
22:50
oh, nobody's watching it, shit. Yeah.
22:53
Yeah, but at least that producer got big money out of it, right?
22:57
So because most of the stuff they're watching and then like,
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you know, we'll give you 150K for a year, take it or leave it.
23:05
Yeah. So that when now everybody writes why in LA, the shooting days going downhill
23:13
and New York and stuff like this.
23:15
I think that two massive things. The one is way less independent movies getting made as earlier years.
23:23
You know, the streamers do movies. They produce a lot.
23:27
But still, when I talk to actors or the crew, they say it's not enough work.
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We don't have work. We don't have work.
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And that's because the independent film world is suffering and not like who
23:37
should invest in a movie now as a private investor. You have to be ballooning to do this.
23:42
And that's the point, that there are no more independent movies.
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So people see a decline in overall shooting.
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And the second is That the streamers Are not properly Pay anymore for a license,
23:59
You know, they have no problem To give somebody 150 million bucks To shoot 8
24:03
episodes of a sci-fi Stuff Right, but then you make a great movie And then shit
24:08
Canada after one series Yes,
24:11
you know But then you make a great movie And then like, yeah,
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okay, 200,000 dollars And you say, so you give the guy 100 million And like
24:19
on First Shift on Paramount+, we were 20 weeks in various top 10s.
24:23
So we didn't get a bonus.
24:25
We didn't get like, okay, now you made 20 million views. Here is another 500,000 bucks.
24:31
No, it's like, yeah, it's working good. And then I went back and said,
24:36
what is with First Shift 2 and 3? We don't know.
24:39
You know, and I mean, now they watch it because I shot it.
24:42
They will watch it. But if everything goes like the first one,
24:47
they will also not pay me the money back we spent, you know.
24:52
And that's not like I'm not having any money. If I just get the money back, then I'm on zero.
24:58
Right. So but I want money for myself, too.
25:01
So and that's the thing. It's like it's so ridiculous that they are so cheap
25:05
when it comes to license a film.
25:07
Yeah i mean like you say they
25:10
want you to go out and take all the risk and they just want
25:13
to uh to stream it where and when
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they can as many territories as they can get
25:19
for the lowest possible price yeah yeah and
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and i mean the people who work in the license departments they
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have that that is their job description right
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they go for the bottom feeding right you basically
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right so they're going out there and say okay i
25:36
can buy 20 movies a year but each movie
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for 100 grand you know and then
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the other guys sitting there and deciding what
25:45
original is getting done and then they're spending like
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even 40 million bucks for a spanish-speaking spanish
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tv movie you know like they spend so
25:54
much money and they are all flat gates are open
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basically right and of course we made a lot of proposals
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especially to amazon and netflix over the
26:04
years with good productions and good possible
26:07
shows but they never gave us an order
26:10
you know they never said okay let's do this send us the budget we make a contract
26:15
you shoot that it never happened as a filmmaker who made who made out like a
26:21
bandit during the sort of the dvd era is is the streaming era similar to the DVD era.
26:28
Just no physical media, or is it completely.
26:31
I think it's very different.
26:35
And I think the real era of DVD in rental also with blockbuster video and others
26:42
was way more freedom and democratic for the movies because you walked through the hallways,
26:49
even in Walmart and everywhere.
26:52
There were like thousands of choices.
26:55
Now you have whatever, two Disney shelves and good book.
27:00
So you're not getting independent movies anymore At a Walmart, at a Best Buy.
27:06
And I think in the earlier years When you went to, especially to Blockbuster You had this,
27:12
you walk And then you stop on a cover You have no information So you just see
27:18
the cover You see who's maybe in it You see what genre it is And you give it a shot,
27:23
And I think that's the reason that a lot of Especially also
27:26
from the horror genre That a lot of movies turned
27:29
into hints because not because
27:32
they had a big theatrical pna spend or
27:35
whatever more about then on home video they
27:38
took off because people saw the cover
27:40
and then you have like people at home that watch it they say to their buddy
27:44
i just watched whatever seed like my horror movie with him you know and that's
27:51
really gruesome you should watch that so then they went to blockbuster and rented
27:55
it now Now, if you are on Amazon,
27:58
you're not making it in that top 10 list.
28:02
So you basically are only people find you if they scroll, you know, to the right.
28:09
So you have to go for the first 25 titles that go by.
28:12
They feature all their originals on the first thing where they have massive
28:17
money in and where massive stars are.
28:19
And then that's the reason a lot of things who are really bad,
28:23
like where you watch and think, what the fuck is that?
28:26
Still makes millions and millions of views because they
28:31
are feature and you know you switch it on and boom watch frankenstein what whatever
28:37
right so they're putting it in your face till you finally click it on yeah sure
28:41
and the worst thing about the internet is like you've seen half the movie before you've even.
28:47
I'm saying this 100% And then You know And they keep it there They keep it there
28:54
And they're also A lot of times Faking their top 10 You know Like to keep Things
29:00
pushing That was for me The big surprise With first shift And,
29:05
Because of Why they should push me They bought that ship There's no big star
29:10
in They give a shit They were just Loading it up And it made it In the top 10
29:15
And you know And that's I remember when I contacted them,
29:19
that was before the takeover from Alice, from Skydance.
29:22
And these people were like, totally like, yeah, surprisingly successful.
29:27
I said, yeah, look, give me two million bucks and I make two more.
29:30
Like, I'm talking here about one third of an episode of Mayor of Kingstown budget
29:37
and I can make two movies. Yeah. Right for this.
29:41
Yeah, maybe. Then they were thinking about giving me $950,000 per 90-minute movie.
29:46
And then I said okay let's do
29:49
this and then it never came and then the guy was fired
29:52
who told me that on the phone so he
29:55
was replaced by new people and then
29:57
the new people never answered me till now it was really like three weeks ago
30:03
over half a year of nothing happened before they finally the new acquisition
30:07
woman answered me and said of course we watch the movies as soon You have something
30:12
to show At least that was a little Glimmer of hope.
30:17
That there will be another deal coming, right? So, and because I know with the
30:22
part two and three are better as part one and have also more casts like Kostas
30:28
Mandelor, Michael Perret, Saul Rubinek.
30:32
So it has more names and faces, you know, besides our main actors.
30:37
So I'm hopeful, but I'm not hopeful that I get the amount of money I want.
30:45
You know that they keep the 950 000 per episode up that's basically the minimum they should pay,
30:53
after the first one was a real success right so i mean now i'm not coming here
30:57
empty-handed with a movie nobody knows about and nobody gives a shit right so
31:02
now you have something where you say look people will click that on they say
31:07
oh that's our first shift movie let's watch it right So,
31:10
I mean, the subscribers are not like totally different people now as they were two months ago.
31:17
And that's for me the thing where I really hope that we can get something going
31:21
there on that end. But yeah, we will see.
31:24
Otherwise, I focus more on zombie movies in the future. Yeah.
31:31
Look, it's always surprising to me. Someone who
31:34
is very well skilled at delivering very classy
31:38
and efficient products as you for minimal amounts of money in an era where they
31:44
have clearly not learned the lesson that spending hundreds of millions of dollars
31:49
isn't a guarantee of a return of hundreds of millions, if not billions of dollars,
31:55
that anyone who's prepared to say, look, well, if you give me $2 million,
32:00
I'll make you two movies.
32:02
You know no and it's also shocking when you read all that
32:04
reports and articles always recently the
32:08
guy who got like 40 million from netflix and bloated all
32:10
there's no movie right so he got arrested for fraud
32:14
because he bought whatever five bugannis so you feel like okay guys maybe you
32:19
should trust a little more producer directors with a long list of credits and
32:24
i mean i really delivered 40 movies with Oscar-winning actors and big stars
32:30
in it on time in budget every single time, right?
32:34
So I can make a $40 million movie, but I can also make a $1 million movie,
32:38
and it will always be done, and it always will be entertaining,
32:43
right? Will it be a total masterpiece?
32:45
Maybe not. But will it be entertaining and good for your audience and never
32:50
boring? That's 100%. Or like Roger Corman said that time on...
32:56
I think he was on David Letterman and he said, they said, you know,
33:00
this movie costs $60 million.
33:02
And he said, I think that's a crime, you know,
33:05
because Roger Corman was of the thinking, well, for $60 million,
33:08
I could make 60 films, you know, like if Netflix offered you $40 million,
33:14
you could probably make $40 million films for $40 million instead of one film for $40 million.
33:21
And then it's a gamble whether or not that it makes any money at all.
33:26
Yeah, but also you can do like when you think about, let's say,
33:29
Alone in the Dark, Blood Rain, these were movies with big stars.
33:33
They look big and they were like around 20 million.
33:37
Now they would spend 80 for that same result, right?
33:40
So they would just spend enormous amounts of money to get the same similar results,
33:45
even if now CGI is cheaper as it was.
33:49
So, you know, it's like for me, but that's the typical thing.
33:53
What we have, of course, also for years in the German subsidy system, it's not their money.
33:59
Right? So it's ultimately they want to be connected to big stars,
34:03
they want to be connected to big names, and so they give them everything they
34:07
want and they think if the money is gone, it's not, I'm not bankrupt.
34:11
You know, it's like they get their salary and they think, I'd go risk-free,
34:16
you know, and give it to Ben Affleck.
34:19
You know, so that's, yeah, that's the thing. And You know, it's their decision
34:25
But in the beginning I mean, we're almost done with the interview But in the
34:30
beginning, I hoped That Netflix is more like blockbusters,
34:34
Because their background was DVD and video. And I hope there are more champions
34:38
for low budget and for genre.
34:40
And that they would develop the new John Carpenters and stuff like this.
34:46
And they're not doing that anymore.
34:49
It looked for one or two years that they maybe go that route.
34:52
And then they went a totally different route. And now they make just straight
34:55
to streaming $100 million movies or sports events.
34:59
Like stupid Logan Paul gets 80 million bucks to box Even if he cannot box You
35:06
know, like Jake Paul and stuff like this And that's kind of,
35:11
for me As a genre filmmaker, very disappointment You know, Apple was clear for
35:18
me It's not my channel It's like this kind of Oh,
35:21
everything has to be so smooth and great And big and big stars,
35:25
whatever I know, but Netflix,
35:27
I saw it Gives a home to people like me. Yeah, to shine.
35:33
It's a shame, but I crossed my fingers once when you said you weren't making
35:37
movies anymore and it worked because you're back making movies again.
35:42
23 years later, Return to Zombie Island is on Indiegogo right now.
35:48
You can get over and check out all the perks.
35:50
Get over to Indiegogo. 23 years later, Return to Zombie Island.
35:55
And also you can check out everything that Dr. Boll is doing.
35:58
At eubolfilms.com. He's on Instagram and Facebook.
36:05
Doctor, thank you for returning to make films, and thank you. Yeah, thanks so much.
36:11
And look out in Australia to find me a distribution for my movies.
36:15
If you know small distribution companies, we can make a five-picture deal with Australia right now.
36:21
Mate, it sounds great, because you haven't made a film in Australia yet,
36:25
so I hope one day you get a chance to do so. Killer kangaroos or something like that, huh?
36:31
Yeah, they should invite me to a film festival. Zombie kangaroos. There we go.
36:36
Okay. Sounds good. Thanks so much.
36:39
Dr. Ball, thank you for being on Cinema Yugen, sir, and all the best with the Indiegogo campaign.
36:46
Thanks, campaign. Yes, 23 years later. Get down to the Indiegogo link in the
36:53
description and help the good Dr.
36:55
Uwe Bol retake the island 23 years later.
37:01
Return to Zombie Island. Get over to the Indiegogo now and get into 23 years later.
37:09
Return to Zombie Island and you can be a part of the next Uwe Bol film.
37:15
Get down to the links in the description.
37:18
And as always, my little Uwe Nights, thank you for listening to us on Spotify.
37:24
IHeartRadio, or wherever you choose to listen to your favorite podcasts.
37:27
I'm Kent Hill, and until next time, you've been listening to us on Cinema U-Games!