00:07Scegliete la vita
00:21La musica in la scena quando Mark
00:23come back to his room, we see a lot of his vinyls and we see a David Bowie one and
00:32it's
00:33just one year that he passed away, so it was an homage to him, to his music.
00:39So we thought, I remember thinking, should we put some of his music in it?
00:45And then I thought, no, there'll be lots of that, I'm sure lots of people do that and
00:49also which one do you pick?
00:52So we just had this very silent moment, we took all the noise off the soundtrack, so
00:57as he flicks the records, when we originally went into the mix on that, they had realistic
01:01sound as they always add for the sound of a finger moving the record, but we took that
01:05all out, so it's a kind of silent tribute to him, yeah, for a couple of albums really, albums
01:13that I owned actually, and still do on vinyl, so yeah, it was a tribute to him.
01:19This film, this movie is very masculine, they say it in the movie, but the two female characters
01:28are the toughest one, the strongest one, the smartest one, and in the end the female character
01:35is very important, so in these 20 years the thing that changes the most are the women.
01:40I agree, and people don't notice that, and it's very important in the film, just because
01:44they don't have huge parts, it doesn't mean that they aren't very, very important, and
01:49their agency is quiet but significant. So Begbie's wife, the mother of his child, is the woman who's
01:58brought that kid up to be different, so that he wouldn't follow his father down that path,
02:03and she's very, very important, and Veronica is the one who uses their tactics against them,
02:12their dishonesty, their lack of, you know, the fact that they will cheat on each other,
02:17she just uses that to outfox them really, and to get the money herself. And Gail Spuds,
02:23who again has brought up a decent young man, despite the fact that his father is a hapless
02:29wastrel, she's the one who actually thinks of the title for the whole thing in the end.
02:33She has the final line of the whole film, really, saying I've thought of the title.
02:37So yes, they're very, very important, and obviously Kelly MacDonald, who makes the wonderful cameo
02:42in the middle of it, has achieved enormous things in the film, you know, she's gone on to
02:46be a solicitor, and you know, so yeah, I think that you're right to point that out, and it's
02:52very difficult, because they dominate the landscape so much just like they dominate the poster,
02:56really, these four figures, it's about a bit of masculinity, their bravado in the first
03:00film, which seems so effortless, they try to recreate, and everybody goes, oh, it's maybe
03:04just about that, but actually it's quite difficult to recreate it. They don't do it that successfully,
03:09because they're tiring, really, and there should be other things in their life, really, rather
03:15than the disappointed figures that they now find themselves surrounding you with, children
03:19and women.
03:20Could you tell me something about the singing scene in which Eam McGregor and Johnny Miller
03:26sing? They both are a very good singer, but in that scene they are out of tune all the
03:30time, and it's a very funny song.
03:33Yes, it is. I mean, we wanted it to be kind of real, it's ridiculous, but ridiculousness
03:39relies on a certain amount of realism, really. So yeah, it feels that we did it live, so it's
03:44not treated or auto-tuned afterwards, it's done live in the real club, in the real place,
03:49and Johnny's, you know, learnt a bit of piano, but you know, it's, so yeah, it feels like
03:55it's a stumbling, chaotic, idiotic scene, but that's what it is, you know, to sing in
04:02those kind of sectarian songs, really.
04:05And last question, why Snapchat? Mark Renton using Snapchat, why?
04:12I know, it's the modern world really, there you go, we all have to keep up if we can,
04:16desperately, clinging on with our fingernails to the modern world, but desperately trying
04:20to keep up. It's interesting, his Choose Life speech, which is very, you know, well-known
04:24from the first film when it's just a defiant, youthful, insolent, kind of throwing back at
04:33the world its choices that they're giving him. Now it's much more desperate, it's a desperate
04:38one of an ageing man, who realises his life has not achieved very much, he's alone at night
04:44with night sweats, you know, that anxiety, pressing pains in his chest. But he goes through
04:52the litany of the things that are meant to make the pain easier, you know, all the choices
04:56that you supposedly got now, the choice between Facebook or Snapchat, whatever your choices
05:00are. But actually the scene is about his mother, another important woman in the film,
05:06who he has not gone back to the funeral, he's not gone back for her funeral. And that grief
05:12he feels in not having done that, he is a terrible weight on him, I think, and he can
05:16only resolve that when he meets his father at the end, and bows before his father really
05:21to find some kind of atonement for not having returned for her funeral. The most important
05:28woman in his life really.
05:30Okay, thank you. Thank you.
05:33Thanks very much.
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