Outrage.

(:: History ::)

1)In a pitiless struggle for power, several clans yakuza argue the benevolence of the Sponsor. The bosses go up to the organisation to blows of conspiracies and wrong allegiances. Otomo, yakuza well in advance, saw evolving her peers: tattoos worked out and severed phalanxes, they passed to high finance. Their battle to arrive at the summit, or at least to survive, is endless in the corrupt world where reign treason and revenge. The world where the heroes don't exist...
Date (s) of Exit (s):  November 24th, 2010 |   December 02nd, 2011

Accomplished by:	Takeshi Kitano
With:	Takeshi Kitano, Jun Kunimura, Ryo Kase, Renji Ishibashi, Kippei Shiina, Kippei Shiina, Tetta Sugimoto, Fumiyo Kohinata, Tomokazu Miura, Hideo Nakano...

Distributor:	Metropolitan FilmExport
Type:	Drama
Country:	Japan
Length:	1 h 49
Original title:	Autoreiji

Official Site (s):
France: http://www.facebook.com/pages/Outrage-Page-officielle/152581421430332
Japan: http://office-kitano.co.jp/outrage/main.html


Festivals, Evénements:
Canes 2010

(:: Trailer for Outrage ::)

(:: Free Streaming Links to Watch Outrage Online ::)

Part 1:

Part2:

(:: Pictures Of Outrage ::)

(:: Downloads Links ::)

DVD RIP, XVID, DIVX, AVI, TS, MKV, RMVB:
http://www.filesonic.com/file/4104251015/outrage.2010.dvdrip.xvid.avi


3gp, MP4, Cam:
Coming Soon.

(:: Scenes of the movie ::)

Maintenance with Takeshi Kitano:
The films of Yakuzas
I was asked for a long time why I made films of yakuzas. Then, the passing years, after Brother in 2000 (my last film centered on yakuzas), I was asked why I had given up making films of yakuzas. I assume that today I will be asked why I decided 10 years later to operate on a "return" to the films of yakuzas. Answer is simple: I wanted it. I found this entertaining and interesting at that time and I didn't turn it since instant. There is nothing wrong to turn one from time to time... But this doesn't make therefore a "return" to the films of yakuzas which I accomplished in the past. In every new film, I test new things. In Outrage, I worked within the limits of type film of yakuzas, but I added unexpected ingredients in scenario. I also searched of new ways of orchestrating violence and murders.

Film violence
They say that to film violence one of my specialities is and I also think that I manage well in this domain. I feel being able to make it without difficulty. It is as to ask a Japanese cook to make a katsu-donation every day (cutlet of pork breaded with the rice). He thinks of course to be capable of making it the closed eyes. In fact, to film violence, it is my katsu-donation. It is a dish which I am always ready to make. And I hope that my katsu-donation is tastier than all the others. Joking apart, I film violence so that the spectator indeed feels pain. I have never filmed and will never film violence as though it was about a vulgarity video game.

Dialogues
Most roles that I interpreted in my films are those of persons rather calm and these characters are impassive and not very talkative type. In Outrage, I voluntarily made much more speak my characters. The film entirely turns around an infamous yakuza who speaks non-stop. What I think interesting in Outrage is because yakuzas never keeps their self-control. Everybody shouts over non-stop. They are bluntly embarrassing. There is an instant even when the actors cut word at all times in a similar rhythm in style " manzai «. I had yet ever tried to make this in my previous films, then it was very amusing to ask my actors to exchange insults always.

Balance group
Although this takes place in the world of yakuzas, there are things to which every person living in our modern world can refer. What reveals Outraged is similar to what takes place in other organisations or other clans in politics, in corporate culture or in the university world. It is a question of surviving in a world of selfish men. Although they make wish of membership in a group, the characters act in an autonomous way and think only of them. As the film is a work of group without protagonist in its centre, it was necessary to pay attention to balance the characters. During the writing of scenario, I spent my time to exchange retorts and stages between the different characters. Similarly, I had to pay particular attention to the angles of camera and to the variety of plans. The catchword was balance. I am persuaded that if I had concentrated on a principal character, the film would have lost in dynamism. And then to finish, all characters intertwine.

The multitude of the characters
My scenarioes always come from pictures. Already in the stage of casting, I had a picture covered with arrows between the names of characters and actors' photographs. I used this picture to weigh balances up between clans and those who had taken the oath there. I didn't want either that some actors make from shadow to others. Even with all this, I hadn't to a lot change the characteristics of my picture. During filming, I made sure that the actors act as the characters whom I had imagined. Sometimes it was even better what is more discounted and sometimes what I saw led us to a picture different from that I had imagined at origin. When it was case, I made necessary modifications in scenario. Some film directors want of every price to stick on scenario, so as to force the actors to act in a not natural way. I don't think that our epoch does the honour us of so much time, then I prefer advancing by adapting scenario to the actors.

Work with new actors
The actors of Outrage had never worked with me until now. They had to notice my facts and gestures, at first. I also, as one might expect. With actors' band with which I am accustomed to work, everything takes place gently. That being the case, a little of tension on the set doesn't harm. Everything very well took place. I think sincerely that it was well because full of freshness, novelty. The technology of some actors was completely unknown to me. I saw things which I had never met with my habitual actors. I thought one instant to ask them not to make just like that, then I told myself that this could be better although what I had imagined. I therefore decided to adopt their style of game.

Music
The music of Outrage was composed by Keiichi Suzuki, with whom I collaborated for Zatoichi. I expressly asked him for a music which isn't too much present. I didn't want that she is taken for a true composition. I assume that music won't be used on the TV programmes of instant, this time. In the past, the music of my films often finished behind the voice which recalls crimes. It won't be case this time. I wanted that music is taken for a missed recording, as a rattle, as of noise. Idea was that the soundtrack has rather the air of effects than of music. I also excluded the use of noise of percussions. I preferred the resonance of blows on a bucket. I wanted that sounds are rude, but that they give a rhythm nonetheless. Not while wanting too much rhythm either. Finally, I ended up taking many elements away.

Modern Yakuzas
Our epoch is probably ideal for yakuzas. It seems that they are very comfortable with technologies of information, that they spread their network of subsidiaries and make benefits surely in grant by threatening their rivals. I assume that they earn a lot of money just like that, but it didn't constitute in my opinion a good subject of film. I either didn't long to represent the traditional yakuzas of the end of the 19th s at the beginning of the 20th, between the games of dices and the rest. I therefore found an intervening period. I am interested in their recent past, when they used guns, machine-gunned and made money by protecting bars. Objective being to get more money and power. Since they confront one another to win, they have to conquer by every possible means others. It isn't a question of being a réglo or nice. They never know which will survive in the lot.

The production of Outrage:
Filming began on August 23rd, 2009 in Kobé to end on October 23rd in Ibaragi (prefecture of the nordestde the agglomeration of Tokyo). In the final, during two real working weeks in Kobé, Kitano and its team turned many important stages, as for example the violent regulations of count in the places of the clan Otomo, the first incident in the bar yakuza which launched gang war and explosion to the coffee-roasting plant of coffee. By recollecting the first day of filming, the actor Takashi Tsukamoto, who worked with Kitano for the first time, says: «I was very impressed by the speed at which they turned, but also by the softness of reports with Mr Kitano. He doesn't make second shooting.» Other actors are unanimously surprised due to the fact that Kitano runs little actors or technicians and also by the unbridled rhythm of filming. Kitano voluntarily chose first-rate actors with whom he had never worked for title roles. From the beginning of filming, Kitano declared: «You all represent your character perfectly and they all are in big form». An openly positive comment, what is rare for this careful film director. Les autres acteurs sont unanimement surpris par le fait que Kitano dirige très peu acteurs ou techniciens et aussi par le rythme effréné du tournage. Kitano a volontairement choisi des acteurs de premier ordre avec qui il n’avait jamais travaillé pour les rôles principaux. Dès le début du tournage, Kitano a déclaré : «Vous incarnez tous parfaitement votre personnage et on tous est en grande forme». Un commentaire ouvertement positif, ce qui est rare pour ce réalisateur méticuleux.
A positive atmosphere bathed filming in its entirety, what allowed to Takeshi to have spontaneously new ideas of the set. «An idea had crossed him mind during a stage together. Just before catch, Mr Kitano suddenly murmured me something in the ear. I didn't understand what he said. I panicked. I had no idea of what he expected from me and I had a white!» said by laughing the actor Tetta Sugimoto. This type of spontaneous inspiration is exactly what characterises a film of Kitano. He rewrote scenario until last day of preproduction by lengthening some stages with the character of Ryo Kase, Ishihara.« It was an incredible challenge for me because it really put to the test my actor's agility» adds Kase. Mr Kitano invented new stages for my character, in turn, and always changed scenario. I had no time to construct the character in my head. It was an unique and marvellous experience». dit en riant l’acteur Tetta Sugimoto. Ce genre d’inspiration spontanée est exactement ce qui caractérise un film de Kitano. Il a réécrit le scénario jusqu’au dernier jour de la pré-production en allongeant un certain nombre de scènes avec le personnage de Ryo Kase, Ishihara. «C’était un défi incroyable pour moi car il a vraiment mis à l’épreuve mon agilité d’acteur» ajoute Kase. M. Kitano inventait de nouvelles scènes pour mon personnage, les unes après les autres, et changeait constamment le scénario. Je n’avais pas le temps de construire le personnage dans ma tête. Ce fut une expérience unique et merveilleuse».
Kitano describes what he preferred at the place of Kase: «The way he trips out and of rages of a blow». But Kase answers that it is Kitano who pointed this way out to him: «He gave me very definite indications and said to me: «Your character is more dynamic than he has air of it», referring to the violent stages and as purificatoires of the film where his character flanks kicks to a pusher. To accomplish a film where all characters are villains and where violence is present from start to finish, Kitano made many repetitions to get what he wanted. Its objective was that pain and cruelty are realistic. The actor Tomokazu Miura confirms it:« The violent stages are described in a worry of realism without compromise, contrary to most current films. And the characters have recourse to violence in this film are described well, without heroic connotation». A novelty in the cinema of Kitano: verbal battles between protagonists to put forward the brutality of the individuals. Keiichi Suzuki, with his worrying but mysteriously nice music, supplements the portrait of this world of outlaws. Pour réaliser un film où tous les personnages sont des méchants et où la violence est présente du début à la fin, Kitano a fait de nombreuses répétitions afin d’obtenir ce qu’il voulait. Son objectif était que la douleur et la cruauté soient réalistes. L’acteur Tomokazu Miura le confirme : «Les scènes violentes sont décrites dans un souci de réalisme sans compromis, contrairement à la plupart des films actuels. Et les personnages ayant recours à la violence dans ce film sont bien décrits, sans connotation héroïque». Une nouveauté dans le cinéma de Kitano : les joutes verbales entre protagonistes afin de mettre en avant la brutalité des individus. Keiichi Suzuki, avec sa musique inquiétante mais étrangement belle, complète le portrait de ce monde de hors-la-loi.