a b c Bahr, David (15 August 1999). "FILM; After 'Trainspotting,' a Truer, Darker Comic Vision". The New York Times . Retrieved 25 May 2023. IW The media fanned the spark that had been there for years. Brexit became a kind of civil war of elites that everybody else was dragged into … I’m not as much for Scottish independence as I am against imperialist nation-states. I think it’s better to be governed by non-hierarchical nation-states that aren’t based on imperialist precepts and entrenched beliefs. I’m for Scottish independence as a mechanism for breaking up the UK, and I’m for English independence and Welsh independence. The real fear of elites in England is that, if Scotland is independent, at a stroke, there’s no royal family, no House of Lords, no Eton. And people in England are going to say – we’ll have some of that. I’m glad I’ve got two beautiful sons. It’s about giving them a loving environment to grow up in... So long as they’re all right, I’m all right Bobby Gillespie Summary: Surreal, drugged-out, mean-spirited adaptation of three Irvine Welsh stories about Scottish lowlife. Expect lots of profanity, scatology, and pharmacy. Since Danny Boyle’s film adaptation of Trainspotting was released in February 1996 Irvine Welsh has remained a controversial figure, whose novels, stage and screen plays, novellas and short stories have proved difficult for literary critics to assimilate, a difficulty made only more noticeable by Welsh’s continued commercial success.

Acid House - Penguin Books UK The Acid House - Penguin Books UK

His abilty to create sympathetic rogues is second to none. Characters constantly blame the consequences of their actions on other powers such as Thatcher, the Polis or the Doyle brothers. These gripings are intersped with characters monolgoing the moments when they got in over their heads or when things have went sour for them. Welsh: I don’t know where that comes from. I think you can see the genesis of every story in events and such. I go around thinking what if such and such and where would that person go and I just search around my own head. Director Paul McGuigan has a history in documentary and was only slated to film the first of the three stories. But his first attempt was so well liked by Welsh and crew, that it was decided he should shoot the whole film, with his unconventional style matching well with the content. The result: a serious trip as losers turn into flies, husbands are betrayed and a baby swaps minds with an acid head. The film is not an experience for the faint fainthearted, but what else would you expect from 100% uncut Irvine Welsh? The Scottish novelist, TV writer, and now screenwriter speaks to indieWIRE about adaptation, our psychoactive lives, and the hazard of making a “Trainspotting” sequel.The characters in these stories are usually teetering on the edge of destruction--usually self-inflicted--and living dark and violent lives. Yet, despite these grim outlooks, Welsh doesn’t moralize or preach but simply show these lives as they are. These are people for whom fornication and fisticuffs register interchangeably on a deep emotional level, and are looking for anything to make them feel alive to escape crushing despair. A man watches every movie in a guide until he can’t take life anymore, rival philosophers grow so angry with each other they brawl in the streets (and find out they are gratified), a man books a cruise for one last fling before flinging himself in the ocean still torn up over his wife’s death a decade ago...this isn’t exactly an uplifting collection but Welsh handles the situations with grace and near-humor. The first story follows Boab, a lazy lump of dirt, who looses everything in a matter of a few hours. After a bar man philosophical meeting with God, he is turned into a fly. The meeting was surprisingly deep, and asks the true question of "why don't we use our powers". As a fly he gets revenge, and sees with the audience a scene of incredible disturbance. Si bien me queda claro que lo de Welsh no son los cuentos, si no las historias más largas y trabajadas, incluso esto se nota con la novela corta que adjunta al final del volumen. C'mon, she says, moving into the darkness. I look into the darkness, but I can't see her, I can only hear her voice. — C'mon, she shouts. Like The Butcher Boy, The Acid House explores the seamy side of, in this case, Scottish rather than Irish workingclass culture. It follows demented characters who pursue debased agendas under circumstances which are at once supernatural and decidedly sleazy Irvine Welsh (Trainspotting) dramatizes three plots from his raunchy book of short stories, The Acid House. Given Welsh's imagination and penchant for depraved characters, decadent circumstances, and just plain rotten motives and outcomes, the result is a creepy movie with totally grotesque content.

The Acid House Quotes by Irvine Welsh - Goodreads The Acid House Quotes by Irvine Welsh - Goodreads

Welsh: I prefer the idea that it starts off quite crazy and then goes nasty and then it comes up again in the third. I think it’s important to end up on number three as the other two have quite nasty endings. Welsh: I think it was probably very helpful. To be honest, when I did this, because the stories were already there and they are so much inside the main character’s head, it was very easy to just start off with the dialogue and inject parts from there. It was the easiest thing to do and I loved it. IW I wouldn’t have been a good parent. I’m not interested. I always moved around physically. I would have been very absent, and conflicted. What I wanted to do required a lot of selfishness if you were doing it right. I’ve met your dad. I recognise him from what you say in the book. I didn’t meet your mum.

The first major release of 1999 is an adaptation of a 1994 book by Irvine Welsh. Hearing this is a bit like learning that Damien Hirst has a new exhibition, and that it's still things in tanks, only camels this time. Your first reaction is - isn't Irvine Welsh a bit of-his-time? The arrival of his writing defined a turn in British book culture, creating an avid readership for fictions of the streetwise, sleazy and pharmaceutical. And the first screen version of his work marked a moment in British cinema that already seems strangely distant - the first flush of the so-called Trainspotting Generation. Irvine Welsh is a fantastic writer. This is only the second book I've read from him (the first one being Filth), and I think I'm in love. There's this depressing underground feeling, a sense of no escape that he captures perfectly. We are all caught up in our bullshit, moving from day to day without any remorse.