Hollywood has a long history of sourcing international investors for projects. Often you will find that filming in a certain country offers incentives and tax breaks not offered in the US. Usually though, you’ll find that in order to be entitled to them, you have to meet certain conditions, for example filming in that particular country and/or employing a certain percentage of native workers as your film crew. Germany has these incentives but, crucially, no such restrictive requirements put upon them. Germans can fund your movie and you can make it wherever and however you like.
But crucially, the bizarre tax laws in Germany mean that any wealthy Germans who invest in a movie can write-off the production cost, delay paying their taxes and generally reduce their tax burden. When you disseminate all the boring legal business law surrounding it the bottom line is this – the German investors in a movie only pay tax on any RETURNS the movie makes, their investment is 100% deductible, so the minute the movie makes a profit, said investor has to start paying tax. Plus the investors can actually borrow money to put towards investment and write that off too. Assuming you’re a sharp enough businessman you have a potential goldmine in the making; a way to make money from investing in bad movies...
Enter a German by the name of Dr. Uwe Boll. (Pronounced “Ooo-vay Bowl” in case you’ve ever lain alone at night and wondered. I know I have.)
“A Boll KG Production”. The opening title card that strikes fear into all but the most mentally challenged critics. “Director” Uwe Boll has carved himself quite a niche market since his feature debut with 2003’s
House of the Dead, as any self-respecting follower of the movie industry well knows.
Up until the infamous adaptation of Sega’s shoot-em-up, Boll had quietly churned out a couple of no-budget drama/thrillers direct to cable or video and nobody was any the wiser to his existence except maybe the couple of lonely Goths who stayed up and caught his movies on late-night cable by accident. But during this time, deep within the head of the wily German, the first cogs of a devious plan were turning… These were just his training grounds, his twisted equivalent of the Rocky or Karate Kid training montage scenes building to the climactic showdown. The knowledge he gained here would allow him to pass himself off as a genuine director in the naïve circles of the Hollywood Z-list while exploiting his homeland’s overzealous generosity.
When it arrived,
House of the Dead turned out to be a painful exercise in bad film-making. I watched it once, and to this day have never had the urge to return to it, safe in the knowledge that with every passing day I remember it a little less clearly. I thought nothing as bad as this could ever be made with a straight face post MST3K. Oh, how wrong I was, so very, very wrong.
Boll then managed to get a distribution deal and some actors people had actually heard of for his second video-game adaptation,
Alone in the Dark. Perversely, his sophomore theatrical movie was even more haphazardly made and definitely more nonsensical. What the hell was going on here? A normal Hollywood newbie who inflicted a flop of
House of the Dead proportions on the world would, as the saying goes, “never work in this town again.” So how did Boll get a second feature released that was worse than it’s predecessor and then still get away with rushing a third video game adaptation into production? At the time, none of it made sense.
There have, of course, been a handful of misguided apologists out there, proclaiming Boll as some kind of modern-day Ed Wood. This idea to me, in light of the revelations that prompted this article, is an insult to the tragic and troubled Mr Wood. You see there is a fundamental difference here. Ed Wood loved movies. He just had no skill for making them. He loved movies so much that he ended up destroying his life trying to realise his dream. He wasn’t really in it for the money, or the fame and fortune. He just wanted to make great movies and truly believed in his work.
This is the total antithesis of the Boll ethic. Boll’s movies aren’t being made out of a love for cinema. They are a shallow exercise in money-making greed and exploitation. Rich Germans getting richer by exploiting the stupidity of the Hollywood system and the naivety of critics like us, who never thought to question the true motives of why these horrible, horrible movies existed. Pure and unfiltered 21st century capitalism. Of course having such an exalted cult icon like Wood in Hollywood’s history has only made it easier for Boll to pull off his scam, because for every 1000 people who called a spade a spade while watching a Boll movie, there was always one using Wood’s existence to justify Boll’s work, thus creating a faux-cult around the man. It’s the kind of lemming logic that no matter how many times someone might say “
Tom Cruise is Looney Tunes and Scientology is a silly cult” there will still be people who won’t listen and follow the leader off that cliff into ignorant misguided space-alien worship just to be different.
The truth of it all is that Boll’s entire shtick is in essence, a sham. He’s not a bad director under the true definition. He just isn’t a director period. He’s only bad because he has no intention of trying to direct a coherent movie, let alone be good. All he needs is 90 minutes of celluloid and a good sales pitch for his investors. He’s not flying in the face of adversity Ed Wood style; he’s rubbing his palms at the awfulness of the dailies, thinking of how much money his fingers-on-chalkboard scenes will make in tax rebates.