This was not the interview I was supposed to be having.
Uwe Boll was supposed to act like a raving lunatic, a spittle-spewing madman as convinced of his own creative genius as he was of everyone else's stupidity. There was meant to be shouting, stream-of-consciousness rambling in semi-broken English and liberal use of expletives. After all, this was the guy who told one reviewer, "Go to your mum and fuck her," challenged others to fight him in a boxing match and assured the world that he's "not a fucking retard like Michael Bay." Gentility, subtlety and grace did not seem likely to be on the day's agenda. I was expecting a firebrand hack. What I got instead was a passionate and thoughtful would-be artist.
"Art" is not a term that gets applied to Boll's work very frequently, except perhaps to note the lack of it. His efforts as writer, director and producer of movies like House of the Dead, BloodRayne and In the Name of the King: A Dungeon Siege Tale earned scorn from audiences and critics alike. Still, the prevailing attitude towards Boll was mostly that of resigned tolerance; sure, his movies were garbage, but making fun of him was fairly satisfying and entertaining. Then came Postal.
Postal's website describes it as "irreverent and outrageous," an "offensive and mayhem-ridden laugh riot that threatens the very limits of common decency." Reactions to the controversial film - which included imagery of Osama Bin Laden and a plane crashing into the Twin Towers - were mixed: Variety praised Boll for achieving "a bright, big-production feel on a reported $15 million budget" while the New York Times said the film "explodes with bad attitude and lousy filmmaking." It won several awards at the Hoboken International Film Festival, but was so offensive to audiences that viewers left screenings in droves. Throughout its lifespan, Boll has defended Postal as "genius," angrily telling off reviewers that dared to give it bad marks. Now that some time has passed since the movie's rocky release, Boll is a bit more philosophical about why it failed to find the audience he felt it deserved.
"Postal is maybe a little too much avant garde right now," he theorizes. "It deals with stuff in the comedy that is really maybe not digested so far. I think this hits some people too hard physically, so the comedy factor goes away and they are offended. I think that slowly that will definitely change. Maybe the movie was two or three years too early ... but on the other hand, I don't think that I make fun out of anything that happened on September 11th besides the absurdity of terrorism. That this guy sitting there, talking about how many virgins we're getting in eternity, this is the absurd thing where I make fun out of. And I was hoping, before, that I could actually because of this get a little more support for Postal."