Ever wonder what your neighbours are up to? Probably nothing, but there’s always that off chance that they are in fact spooky serial killers or occult weirdos. Or not. Joe Dante’s The Burbs plays with this notion of paranoia about those next door and gives us a hysterical social commentary on the white picket fence life while it’s at it for something decidedly different. Stressed out yuppie Tom Hanks is certain that the oddball German doctor family down his block are up to no good, and he whips up the rest of the folks who live around him into a fervent panic with his anxieties. It doesn’t help that the people he’s suspicious of are played by the oddball likes of Henry Gibson, Courtney Gains and Brother Theodore, but he still seems like a delusional schmuck and we’re never really sure exactly what *is* going on until the demented, ballsy ending which makes laugh like hell each time. His wife (Carrie Fisher!) thinks he’s lost it, we think he’s lost it and he desperately scrambles to prove otherwise by gathering any evidence against these dudes with the help of local kid Corey Feldman and persnickety Nam vet Bruce Dern who absolutely steals the show with priceless lines like “Smells like they’re cookin’ a goddamn cat over there!!” This one is a total scream, retaining Dante’s ooey gooey horror roots while almost reminding one of Spielberg/Zemeckis style fright flicks that take place in suburbia. The only thing separating people from one another in a neighbourhood like this are four walls and a roof, and within them anything could be happening right under one’s nose and several metres away, yet unseen. This is Hanks’ worst fear here and Dante plays it’s for absolute hilarity, mirthful menace and glorious black comedy. Great stuff.
What’s strange is, for the longest time, I had only ever seen the final scenes of Cocoon. A sea covered in mist, a young boy in the water, a boat loaded with elderly people being chased. Then the sky above lights up. The clouds part majestically as James Horner takes over and the ship ascends into a gigantic spacecraft. Wow, I thought. Cool. Have to see that rest of that! It would be a few days later, but, at last, the whole story was mine to experience.
To talk about films like Cocoon, you need to go back to a different age in cinema. Before most of the popular films were adaptations of characters from the funny papers and franchises and cinematic universes were lined up, as far as the eye can see. It was a time of great risk and invention. When a person with a great idea was king, and the power of Hollywood could make such visions sing.
The era of high concept brought us many of the enduring classics which now appear, in many ways, to be timeless. A young Ron Howard would helm the picture, taking control after another icon of the times, Robert Zemeckis, decided to go off and romance a stone, before heading back in time. Howard had already delivered a fascinating modern day fairy-tale with his magical, romantic, comedy-adventure, Splash. In hindsight this was a fortuitous match, one which would propel Howard’s career to new heights, eventually seeing him become the ideal fit for another 80’s fantasy masterpiece, Willow.
This phrase has become a cliché with me, but long have I waited to chat with someone connected with this movie – one of the fantastical cinematic staples of my youth. My guest Tom Benedek was the man tasked with taking an unpublished novel and turning it into a story for us all. A story of how sometimes it takes a stranger to show us what those we share our lives with fail to point out, a story about the wondrous mysteries and possibilities that dance in the sky so full of stars above our heads, and a story about our grandparents and the lessons, indeed the wisdom they try to send us . . . and how when their time comes, how hard it is to let them go.
So, as it has happened so many times for me while writing for PTS, my dreams have come true. I now have a glimpse, and not a mere EPK look behind the scenes. I have my story of the creation of a science fiction and fantasy film-making high water mark, from the man who brought it to life on the humble script page.
I love the cinema of Uwe Boll. How you ask? Haven’t you read the reviews – don’t you know the stories? My answer: Yes.
I have read the press, I know all the stories. I watched as mindless degenerates hiding in their mother’s basements hurled shit across the web, and into the face of one of cinema’s most prolific, most passionate, fiercely independent figures. A man who needed, not a studio, but his own incredible knowledge and production savvy to make movies . . .
. . . all Uwe Boll ever wanted to do.
But I’m getting ahead of myself. Let’s set the ‘way-back machine’ for the late 90’s, and I’m tending the counter at the local video store – back when it was really its namesake – and they bring in a new coin-op to keep the punters in the store and spending money. That video game was called House of the Dead.
Supposedly so graphic and horrifying – as well as being literally rated R – HOTD was a shoot ’em up in the best, most fun sense of the genre. Behind the black curtain that was there to frivolously attempt to shield the eyes of the innocent from the mayhem, the masochistic, bullet-shredding magnificence, was a really cool world where the aim of the game was to blast your way through hordes of the undead with merciless glee.
So being a fan, and sneaking off to play while I should have been at the desk – when a friend of mine said, “I hear they’re going to make a movie based of this” – I was like, “take all my money man – this is gonna rock!” (And that was prior to The Rock giving video game adaptations a shot)
I remember going to the cinema to see it, and soon being one of only a handful of people still watching after a good number of folks had walked out. So – why did I stay I can hear you ask? Well there are two reasons. One is simple – I enjoyed the movie on many levels. Yes it wasn’t the game, nor could it have been. I think people operate under the fallacy that just because a video game has a backstory or mythology on which it is based, then it must be simple to adapt into a movie. I believe precisely the opposite to be true. I think truly solid adaptations rely more on the wit and invention of the filmmaker. To combine a good narrative with recognizable elements from the game to appease the faithful.
And, love him or despise him, that is exactly what Uwe Boll could do – and do well. For if he couldn’t dear reader, then those multitudes of investors that he went back to time after time, movie after movie would not have entertained him. If he were not commercially successful, the career of Uwe Boll would not exist, nor could it be captured in the brilliant, candid and touching portrait of a film about a filmmaker, a man, who refused to remain silent whether he was being applauded or damned.
Unlike Dan Lee West’s RAGING BOLL, which deals more with the sensationalist side of Boll’s career, S.P. Shaul’s picture meanders down the quite roads and sheds light on the personal figure behind the media circus, the private man, the family man, the man who in spite of those basement dweller’s vitriol – followed his dreams and fought many a battle to bring them into the cold light of reality.
FUCK YOU ALL, is not a gratuitous middle finger in the face from the man dubbed the worst filmmaker of all time. No dear PTS listener – it is about the pursuit of what inspires, the burden of making visions come alive as well as the reminiscences of a man who worked with and alongside the cream of the Hollywood crop while smiling at the absurdity of it all.
When and wherever you can see this, The Uwe Boll Story, I urge and hasten you. It is filled with insults and hatred but that is always counterbalanced by the friends and collaborators of Dr. Boll, speaking words of praise, constructive criticism, and overall of a man with whom it was always fun to go to work with – and as it is said best, by Brendan Fletcher (a long-time Boll collaborator), and I’m paraphrasing here: but he speaks to the haters of Boll and says . . . “when have they ever risked anything?”
It is a great film about a fascinating artist and I am most excited to present my chats now, not only with the filmmaker responsible for the documentary, but with the filmmaker who inspired him to make the journey . . .
As a child, Uwe produced a number of short films on Super 8 and video before beginning his studies as a film director in Munich and Vienna. He also studied literature and economics in Cologne and Siegen. Uwe graduated from university in 1995 with a doctorate in literature. Uwe has since directed, written and produced over 30 movies with such stars as Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman. Uwe also runs and owns the BAUHAUS Restaurant in Vancouver alongside Michelin Star chef Stefan Hartmann.
Sean is a Canadian Documentary Filmmaker who became aware of Uwe Boll whilst working on the production, Assault on Wall Street. His first encounter the wild, unchecked hullabaloo of an Uwe Boll movie. Sean would then go back and watch a number of the master’s films before lightning struck – Uwe would be the subject of his next documentary. Boll never one to have a problem with being candid – Shaul received and all access pass to the life behind the great director – enough to construct this, his definite portrait of the man, the myth, the mouth . . . the man named, BOLL!
The Wraith was like many a glorious find back in the day at my local video store. The cover had a holographic shimmer to it – a strange robot-like character standing in front of some bad-ass, customized car that looked as though it would be more comfortable zipping through the galaxy rather than flying at break-neck speeds along the long stretches and cactus-lined roads of Arizona.
Yes sir, that cover held the promise of sci-fi mysticism combined with heat-thumping vehicular action to rival the Road Warrior.
Oddly enough, Dr. George’s post-apocalyptic action-adventure was the template for Mike Marvin’s Cult Classic. When the man who started out making skiing films came to Hollywood and saw an opportunity to fuse High Plains Drifter with Mad Max 2, one would assume it was a concept any studio would be happy to throw their weight behind.
But, then as now, the movie business can be treacherous, and Marvin’s experiences making The Wraith were far from pleasant. As a matter a fact, they were a nightmare. Plagued by unscrupulous producers, a tragic death while filming – along with all the other perils of production – it is a wonder that this certified 80’s classic ever made to to the screen.
Lucky for us, however, thanks must go, in no small part, to a string of wonderful performers, a dedicated crew and a talented director at the helm, The Wraith survives as a one of a kind mash-up of genres that has endured and is, for this film writer at least, yet to be equaled.
This interview was conducted before I was able to sample Mike’s great and candid commentary on the Region 1 DVD release of the film. And while some of what he relayed to me you will find on that release, the truly glorious thing that I experienced was to hear these insights, plus a couple that were not covered in that commentary track, first hand from this journeyman warhorse of a film-maker.
So seek out the The Wraith, those of you who have not yet experienced it. Let this interview, hopefully tantalize your interest to learn more about this incredible film that really was both ahead of its time, a product of its time and most assuredly one of a kind…
Frank and Tim are back with their latest Star Wars episode. And while their predictions of Max von Sydow being Boba Fett and who Rey’s parents are didn’t prove to be correct; everything you hear in this podcast is true…
This time round I really had no plan, and I find that makes for the best interviews, cause, man, it can go anywhere. I love his unfiltered take on the epicenter of the film industry, his encounters with certain movie town luminaries, his hilarious CliffsNotes on the status of the latest cinema fodder, and his seeds of wisdom when we’re talking shop.
From possible titles for Meatloaf’s next album to O.J. Simpson, to the best idea I’ve ever heard for a reality TV series, Matt and I don’t just shoot the breeze, we gleefully fire and Uzi into the clear blue sky and I hope you’ll delight, as I do, with what hits the ground.
So for luck, for laughs, for the unknown, join us now, me and my mate Matt as we sit down again. And don’t worry – we also talk about movies…