Tag Archives: Spawn

FUCK YOU ALL: The UWE BOLL Story Interviews by Kent Hill

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)

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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 . . .

. . . enjoy

UWE BOLL

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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.

(Courtesy of:http://uwebollraw.com/)

SEAN PATRICK SHAUL

Uwe and Sean

Sean is a Canadian Documentary Filmmaker who became aware of Uwe Boll whilst working on the production, Assault on Wall StreetHis 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!

PLEASE VISIT: http://prairiecoastfilms.com/

 

 

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Spawn 1997

With the impending release of a new Spawn film next year that will be written and directed by original comic book artist Todd McFarlane (!), it’s time to take a look back at the eclectic 1997 version. It’s a mixed bag that’s mostly filled with stuff I love, in particular a real nasty comedic edge brought to the table by John Leguizamo’s profane, obese, horrific hell clown The Violator, who lets face it, kind of steals the show. I read that every actor under the sun was considered for the lead role, from Denzel to Samuel L. Jackson to Tony Todd, but I feel like they really lucked out with martial arts legend Michael Jai White, whose sinewy presence lends itself to the dark character and practically radiates pent up rage. Spawn was once Al Simmons, a government assassin who was royally fucked over by the evil mercenary Wynn (Martin Sheen, trying his darnedest to shake the good ol’ Hollywood boy image) and sent to the fiery pit of hell, only to be resurrected as a half demon antihero with more whacked out powers than Beetlejuice and a serious hankering for revenge. That’s this movie anyways, I’m not sure how faithful it is to the comics. Guided by a pseudo Van Helsing looking mentor dude (Nicol Williamson in his final screen role) and pining for the wife (Teresa Randle) he widowed, he embarks on a bloody odyssey to… well to kill Martin Sheen and anyone who gets in his way doing it. Oh yeah, and Leguizamo’s demon clown follows him around making horrifically dark jokes (“I’ve been around since before you were soup in your momma’s crotch) and chewing more scenery than the actor has in the rest of his collective career, which is some fucking achievement. It’s funny because this film simultaneously contains some of the best and worst special effects of the 90’s; Spawn looks, feels and sounds terrific, with tactility and tangibility that should be admired, swooshing reptilian cape, glowing eyes and all manner of slice n’ dice weaponry. However, when we see him visit the devil in hell, the CGI used to bring old Satan to life look absolutely abysmal, like a Starfox final boss they forgot to completely render. I suppose they didn’t have enough budget to make everything slick, but honestly they should have just cut those scenes completely rather than have that embarrassment parade across the screen. Still, it’s hardly a blight on the movie and if anything is part of its scrappy charm, I’ve just been accused of being too much of a critical Pollyanna lately, so I have to throw in the occasional jab at a film I love just for credibilities sake in this snooty community of cinema we live in. Overall this version of Spawn is a blast of beautiful special effects, horrific imagery, vivid performances and Leguizamo mugging the camera like an aggressive dog. I’ve read that he was in that fat suit for so many takes one time that he actually had to deliberately piss himself, which I’m sure only added to the manic energy he has, like how’s that for method acting. I’m not sure what McFarlane has planned for his new one (Jamie Foxx has landed the lead), but I’d advise him to retain the bite and ferocity this one has, as well as its dark humour, weird dream logic and practical effects vs CGI. I’m sure he knows what he’s doing though, it’s not like he’s the original creator of the whole comics series or anything.

-Nate Hill