Controversial Film Director Uwe Boll talks with about his early German-language film AMOKLAUF (1993)
TV STORE ONLINE:
I saw AMOKLAUF  for the first time yesterday....It's a pretty incredible
film. It reminded me of TAXI DRIVER (1976)....
BOLL: It's a strange movie. I made it as if it would be the last movie that I would ever make in my lifetime.
TV STORE ONLINE: Your first film, GERMAN FRIED MOVIE , is radically different from AMOKLAUF...
BOLL: I made GERMAN FRIED MOVIE with my partner Frank Lustig for $60,000 dollars. It was really a rip-off of KENTUCKY FRIED MOVIE. We screened the film all over Germany at various film festivals and it got a little bit of a cult following. A distributor came along and bought the DVD rights for it and get me $150,000 dollars to make my next movie. My second film, BARSCHEL - MURDER IN GENEVA , was made based around a actual crime that had happened here in Germany. The film tanked, but we got a lot of press with BARSCHEL and the government actually tapped my telephone because, at that time, the case was still on-going in the German courts.
When BARSHCEL tanked, my partner and I decided to part-ways. We had directed together on GERMAN FRIED-MOVIE and BARSCHEL, but after that, we agreed that we could no longer direct together. We realized that after BARSCHEL. We were moving in two different directions, and while you can't see that in GERMAN FRIED-MOVIE, you could in BARSCHEL. We parted ways and out of the $50,000 German Marks that I had left in our business account I made AMOKLOFF.
TV STORE ONLINE: AMOKLAUF has some strong images in it....Perhaps, the strongest vision that you've ever had out of all of your films to date...
That was the reason why I wanted to make it. At the time was worried that I wasn't going to be able to make another movie after I finished AMOKLAUF. So I made it as if I were saying goodbye. The film is very depressing. After it was finished, we screened the film at a little theater in Berlin. The projectionist at that theater was a young Tom Tykwer (director of RUN LOLA RUN), and it was part of a double-feature that included HENRY: PORTRAIT OF A SERIAL KILLER . The film was invited to one of the largest film festivals in Germany and within the first few minutes of the screening the audience started to leave. Then, the scene with the porn came on and that caused almost all of the remaining audience at the screening to get up and leave. (laughing) The next day, there were articles in the German press attacking the film festival for showing the film as well as me. Jörg Buttgereit had screened his film SCHRAMM  at the same film that year, and when the press attacked me, he defended me and my film and I did the same for him. I'm really proud of the movie
all these years later. After all the press that I got in German at that film festival, I was invited to screen the film at a festival in Paris--and the audience in Paris loved the film.
TV STORE ONLINE: Was the film shot on 16mm? I love the grainy-feeling that it is...
No, it was actually shot on 35mm. To give that grainy-look, we took the film and re-shot it again on 35mm using an animation stand.
TV STORE ONLINE: You mentioned Jörg Buttgereit a moment ago...Had you seen his film NECROMANTIK (1987) prior and did it have any influence on you?
BOLL: He wasn't really an influence on me because we kind of started making films about the sad time. I do like his films though. There is an element of sadness that I really like. In fact, it was he and his partner who ended up releasing AMOKLAUF on DVD in Germany after the film left the film festival arena. Did you ever see Buttgereit's short film MY FATHER (1982)?
TV STORE ONLINE: No, I haven't.
BOLL: I saw it at a film festival in Germany when he first premiered and you can't imagine what it was like to see that with an audience, especially considering that the film features his dead father in an arm-chair...
BOLL: Buttergereit films his father dead in a chair. He goes over to see his father and discovers him dead in a chair, and he films him before he calls the cops or whatever...
TV STORE ONLINE: What do you think inspired the story-line for AMOKLAUF?
It's tough to say. I've always loved movies that are dark and strange. I don't think I was thinking about any one particular film as being an influence, but I knew in advance, that I wanted to have a specific music in the film. I wanted music that would represent the end of a life. I wanted the music
to represent the film moments in someone's life. That's why I play that big piece of music throughout the end of the film. Also, I think the film talks about the capabilities of what human's can do. This is what all of my films are always about.
Interview Conducted By: Justin Bozung