A Quote by Uwe Boll
I like the direct contact. I want a lot of people that only know me through the mass media to learn more about what I'm doing, and to know that I'm an independent filmmaker and I'm not part of the Hollywood system. I'm coming from where they started. I'm not coming from a family with a lot of money.
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I feel like a lot of the stuff coming out right now just feels really inauthentic to me. But apparently, people don't seem to see through it. And this makes me sound bitter, but it's just my perspective. I'm not bitter. I just feel like there's a lot of stuff that doesn't feel like it's coming from a place of any sort of integrity. It just doesn't feel like it's coming from the heart, basically. It just feels like it's being produced because people know it's a formula that will work, or it's easily digestible and fun to look at.
When I started coming on the scene, just really new into NXT, and people started seeing me, I got a lot of positive feedback from my friends, my friends back home. They were like, 'Oh, you are doing such great things for young girls,' and then it clicked in my head, like, 'Wow! I didn't know that was something I could do here.'
I have been very lucky because I have had the opportunity to see what it's like to have little or no money and what it's like to have a lot of it. I'm lucky because people make such a big deal of it and, if I didn't experience both, I wouldn't be able to know how important it really is for me. I can't comment on what having a lot of money means to others, but I do know that for me, having a lot more money isn't a lot better than having enough to cover the basics.
Sometimes I watch the broad comedies coming out of Hollywood and I think, 'You know, sex is a big part of people's lives, but is that really the only thing men are ever concerned about?' People are more complicated than they appear in film or television.
When I'm doing the Justice League stuff, my point of view is always coming through Buddy. And he's a dad, and there's stuff about his life that I relate to with my life, and I can also take the abilities of animals, which a lot of people don't know about me.
The makeup of the drivers has changed a lot with so many young drivers coming and a lot of the legends moving on. Compared to when I started, it's gone through a lot of changes. The cars have changed a lot and the approach to racing. There are a lot more employees. It's become a much bigger business and more corporate.
I really love doing nothing. I really love just being at home and taking a couple of days, you know, doing nothing. You know what I mean? Just getting up, being around the house, going outside the back yard, coming back in; I really like to do nothing because I travel a lot. There's a lot of travelling. There's a lot of on the phone all the time. There's a lot of looking at papers and reading things and so you don't want to read magazines and you don't want to do anything; you don't want to read books, you just want to just kind of shut down a little bit.
I started doing cocaine to get through interviews, 'cause people wanted to know a lot about my personal life and I wasn't prepared for a 60 Minutes interview every time. Doing bumps I was able to get through the day, but then I would smoke weed to calm me down - it was the only way I could get through the day without people noticing I was doing it.
For many years I thought, "Well, I need to know a lot more to direct." But I looked around and watched all the people I know directing and thought, "No. I just need to know what I want it to be." Then there will be a lot of people to help me get it to there, especially Bobby Bukowski, he's a brilliant cinematographer.
I think Splash made people realize that I was still alive, and I think I inspired a lot of people. I have people coming up to me all the time in the airport saying, "Hey, you inspired me to learn how to swim!" "You inspired me to start moving around more." "You inspired me to start doing more for myself." So that was good. But mostly I took it because nobody had given me a job. And you know what really matters in life, right?
For a long time, I had been very secretive about a lot of the things I'd been through personally, and a lot of that is purposeful. My fan base, for the large part, is the younger generation. They're like, 'I want to know everything! I want to know it all!'
The dream of coming back is becoming a reality. A lot of the uncertainty about the future has been cleared up. A lot of people are no longer cursing the darkness and have started lighting candles and doing positive things.
If there's anything you want to do and you can't figure out why you're not doing it, there's a simple answer: you link more pain to doing it than not doing it. Hey, if you don't have enough money, for example I know that's an issue for a lot of people. It was for a good deal of my life. If you don't have money there's only one reason: you link more pain to having more money than to not having it.
Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
A lot of people get stuck, like, "Oh, if it's made by a studio, it can't be independent." Often they link it to the source of financing, or how it's distributed, but I don't really know how you can. A filmmaker will take his money from anywhere. It doesn't matter.
I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
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