Most films that I do, whether successful or not, just fade away. They have their moment in the sun, then they are gone. 'Trainspotting' did not, and especially with journalists. So whenever I launched a new film, I'd end up talking about 'Trainspotting. '
By definition, you have to live until you die. Better to make that life as complete and enjoyable an experience as possible, in case death is shite, which I suspect it will be.
The subsequent success levels, all the other stuff [after Trainspotting], it comes at a much higher level.
When I started off with Trainspotting, it was the way the characters came to me. That's how they sounded to me. It seemed pretentious to sound any other way. I wasn't making any kind of political statement.
The first of the Trainspotting crew to die. Out of the five of them like, Begbie, Renton, Spud, Sick Boy and [Margaret] Thatcher. Who'd have thunk she'd have been the first to go? She was the invisible author of the book, really. She created the conditions and the hubris whereby that whole culture flourished.
I didn't have any concept of Trainspotting being published. It was a selfish act. I did it for myself.
I like to razz the Trekkies a little bit. Who doesn't? It's trainspotting, isn't it? But they are very well-meaning, actually. I've done a couple of Star Trek conventions, and they've only been really welcoming.
I loved being in Trainspotting and having to dive into the filthiest toilet in Scotland.
I mean Filth is the best British film since Trainspotting. It might even be better. I keep watching it back to back with Trainspotting to try and work out which is the best. I can't split them.
It's all been quite a revitalizing process for me, being out there in the States. It wouldn't have happened without Trainspotting.
I've read a lot of Irvine Welsh - Trainspotting, Glue - he's written some beauties.
Choose life … I chose not to choose life. I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got heroin?
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
I've never watched Trainspotting. I just know it's a very critically acclaimed film. In fact, I've never watched any of Danny's movies [means before he met him]. I just worked with him and felt the energy of what he is about initially before I do something. In a way, I think that's why we have discovered each other rather than replicate something else.
Some of the films that I have really enjoyed include: The Fifth Element, The Crow, Toys, Seven, Forrest Gump, The Lion King, 12 Monkeys, Doctor Zhivago, Being There, and Trainspotting.
I don't see [ Trainspotting ] as an albatross, I see it more as a calling card. It's got me out to Hollywood, I've got a good agent, I've got a good manager, I'm getting a lot of work out there and doing a lot of stuff - getting a lot of film projects on the go.
[Margaret Thatcher] was the invisible hand behind it. Without that, there'd be no Trainspotting and no Filth.
