Given that the balance of characters in RAGE is a mix of the visible, familiar faces of a visible industry and – importantly -the less familiar, but equally necessary, hidden others who work in the background, I think it is time to redress the balance concerning the team who made this film.
It was a wild night on the Southbank in London. There was something in the air that felt, perhaps, close to the edginess of those participating in the first broadcast of live television, or one of the earliest projections of film with sound.
We had the NYC premiere of RAGE at ‘The Box’, a downtown club and historic architectural gem that has something of the feel of a Wild West bar and brothel, with an upper gallery, dim lighting, private booths and a racy reputation.
There is no zero point in writing a script, of course. Just the illusion of nothingness before the something appears. But confronting emptiness, a kind of void-state, whilst sometimes terrifying (will anything ever happen?) is also exhilarating.
RAGE is nearly done. The picture is locked and I am about to go to Paris to finish mixing the sound with Vincent Tulli (who mixed YES) and then, in January, to make a 35mm print with Digimage.