Irvine Welsh Quotes
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Hugo Boss is my kind of label.
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That beats any meat injection … that beats any fuckin cock in the world … Ali gasps, completely serious. It unnerves us tae the extent that ah feel ma ain genitals through ma troosers tae see if they're still thair.
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I think what you call 'metropolitan America' - as in San Francisco, New York and Los Angeles - I think there's more awareness of the atypical, while in more traditional Britain, there's the kitchen-sink dramas and thrillers. It's more formulaic.
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Words should have the power to inform and to move, not the power to send people scurrying away. But if you attach that much emotional energy to a word, it gives people the power to hurt each other.
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Still, failure, success, what is it? Whae gies a fuck. We aw live, then we die, in quite a short space ay time n aw. That's it; end ay fuckin story.
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The idea of just sitting at home on Facebook worries me. I think we should all get out more.
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For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.
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One of the things you want as a successful writer is the anonymity.
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Once you've been with each other in a primal, shagging state, it's hard to talk about the weather.
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I just love the weather. I live on Miami Beach, which is all boutique hotels and cocktails. I do sometimes go along to smart parties in my white suit, but I wouldn't really recognise any famous people if they were there because I'm not very good at star-spotting.
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I've been doing a bit of screenwriting and producing, and even a bit of directing.
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It was around the summer of 1982 when the drug problem really impacted. It became a lifestyle rather than a recreation. When you start lying and stealing, you cannot con yourself you're in control any more.
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I come up with a blurb at the beginning, but the book will always be completely different by the time it's finished. They say, 'Where's the book you were going to write?' And I say, 'Forget about it. It doesn't exist.'
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What happens when you get any kind of entrenched power is that it just becomes kind of corrupt and self-serving.
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Filmmaking is a much more collaborative thing than literature, so you know you're going to be working with a group of people at the start. You know it's going to be a compromise.
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I left Edinburgh to follow the London punk scene in 1978, singing and playing guitar in various bands. My income was sporadic, so I did anything to eke out some kind of subsistence - laying down slabs, working as a kitchen porter.
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'We are all acquaintances now'. It goes beyond our personal junk circumstances; a brilliant metaphor for our times.
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It's like nothing's really happening. Our culture is almost dead.
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A lot of people pulled me up after 'Trainspotting' for its absence of politics, but the argument I make is that the absence of politics is political as well.
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Historically, men have a hard time getting onboard with feminism, but I think that's changing.
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I tried to write 'Trainspotting' in standard English, but people weren't talking like that.
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There's something about the modern era where it's very hard to transgress - we're all so online, easier to track by mobile phone - so you have people who do it on your behalf.
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Before I started writing, I'd never read much fiction. I was more interested in non-fiction. I'm taking the same approach to theatre: I can operate from a position of ignorance and make up my own rules instead of being bound by customs and practice.
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I would never have written 'Trainspotting' if it hadn't been for this album, 'Raw Power,' and 'Metallic K.O.'