Ways of Reading Third Edition - Martin Montgomery, Alan Durant, Nigel Fabb, Tom Furniss, Sara Mills 2007

Activity 24.1
Unit 24 Film and prose fiction
Section 6 Media: from text to performance

Irvine Welsh’s novel, Trainspotting (1993), was filmed by Danny Boyle in 1995 from a screenplay by John Hodge. In the following activity you are invited to prepare a shooting script from a passage of the novel and to compare it with a section of Hodge’s screenplay.

In the extract of the novel given below the main character Renton and his friend Murphy (’Spud’) are interviewed for jobs. Neither of them is serious about looking for work, but in order to maintain their claim to social security benefit (’job seeker’s allowance’) each of them must appear to go through the motions of job-seeking. They prepare in advance to steer a fine line between success and failure in the interview.

1 Create a shooting-script using the extract from the novel below: select and adapt material to form the dialogue for the film; and include further information about how the scenes should be shot.

2 Compare your shooting-script with the dialogue from the corresponding section of Hodge’s screenplay reprinted after the extract from the novel.

3 What are the main differences between your shooting-script and Hodge’s screenplay? Do they involve different interpretations and realizations of the novel? If so, in what way?

4 What are the differences between yours and Hodge’s screenplays and the extract from Welsh’s novel? What specific aspects from the novel cannot directly be transposed into a film version? What adjustments have been made and why? (Read the passage from the novel carefully and think back to what you have learnt about narrative prose fiction in the previous units.) What are the respective advantages and disadvantages of the two media?

Extract from Irvine Welsh’s novel Trainspotting

2 - Process: Mr Renton (1.00 p.m.)

The trainee manager whae welcomed us wis a mucho spotty punter in a sharp suit, wi dandruff oan the shoodirs like piles ay fuckin cocaine. Ah felt like takin a rolled up fiver tae the cunt’s tin flute. His biscuit-ersed face and his plukes completely ruin the image the smarmy wee shite’s tryin tae achieve. Even in ma worse junk periods ah’ve nivir had a complexion like that, the poor wee bastard. This cunt is obviously along for the ride. The main man is the fat, stroppy-lookin gadge in the middle; tae his right thirs a coldly smiling dyke in a woman’s business suit wi a thick foundation mask, who looks catalogue hideous.

This is a heavy-duty line-up for a fuckin porter’s joab.

The opening gambit wis predictable. The fat cunt gies us a warm look and says: - I see from your application form that you attended George Heriots.

- Right . . . ah, those halcyon school days. It seems like a long time ago now.

Ah might huv lied on the appo, but ah huvnae at the interview. Ah did once attend George Heriots: whin ah wis an apprentice joiner at Gillsland’s we did some contract work there.

- Old Fotheringham still doing his rounds?

Fuck. Select from one of two possibilities; one: he is, two: he’s retired. Naw. Too risky. Keep it nebulous.

- God, you’re taking me back now . . . ah laugh. The fat gadge seems tae be happy wi that. It’s worrying. Ah feel that the interview is over, and that these cunts are actually going tae offer us the joab. The subsequent questions are all pleasantly asked and unchallenging. Ma hypothesis is fucked. They’d rather gie a merchant school boy with severe brain damage a job in nuclear engineering than gie a schemie wi a Ph.D. a post as a cleaner in an abattoir. Ah’ve goat tae dae something here. This is terrifying. Fatso sees us as a George Heriots old boy fallen on hard times, and he wants tae help us oot. A gross miscalculation Renton, you radge.

Thank fuck for spotted dick. A fair assumption tae make, considering every other part of him seems tae be covered in zits. He gets tae nervously ask a question: - Ehm ... ehm ... Mr Renton ... ehm ... can you, ehm, explain . . . eh, your employment gaps, ehm . . .

Can you explain the gaps between your words, you doss wee cunt.

- Yes. I’ve had a long-standing problem with heroin addiction. I’ve been trying to combat this, but it has curtailed my employment activities. I feel it’s important to be honest and mention this to you, as a potential future employer.

A stunning coup de maitre. They shift nervously in their seats.

- Well, eh, thank you for being so frank with us Mr Renton . . . eh, we do have some other people to see . . . so thanks again, and we’ll be in touch.

Magic. The gross git pulls down a wall of coldness and distance between us. They cannae say ah didnae try. . .

3 - Process: Mr Murphy (2.30 p.m.)

This speed is el magnifico, likesay. Ah feel sortay dynamic, ken, likesay, ah’m really lookin forward tae this interview. Rents sais: Sell yirsell Spud, n tell the truth. Let’s go for it cats, let’s get it on . . .

- I see from your application form that you attended George Heriots. The old Heriots FPs seem to be rather thick on the ground this afternoon.

Yeah, fat-cat.

- Actually man, ah’ve goat tae come clean here. Ah went tae Augie’s, St. Augustine’s likesay, then Craigy, eh Craigroyston, ken. Ah jist pit doon Heriots because ah thoat it wid likes, help us git the joab. Too much discrimination in this town, man, ken, likesay? As soon as suit n tie dudes see Heriots or Daniel Stewarts or Edinburgh Academy, they kinday get the hots, ken. Ah mean, would you have said, likesay, ah see you attended Craigroyston?

- Well, I was just making conversation, as I did happen to attend Heriots. The idea was to make you feel at ease. But I can certainly put your mind at rest with regards to discrimination. That’s all covered in our new equal opportunities statement.

- It’s cool man. Ah’m relaxed. It’s jist that ah really want this job, likesay. Couldnae sleep last night though. Worried ah’d sortay blow it likesay, ken. It’s jist when cats see ’Craigroyston’ oan the form, they likesay think, well everybody thit went tae Craigie’s a waster right? But eh, ye ken Scott Nisbet, the fitba player likesay? He’s in the Huns . . . eh Rangers first team, haudin his ain against aw they expensive international signins ay Souness’s, ken? That cat wis the year below us at Craigie, man.

- Well, I can assure you Mr Murphy, we’re far more interested in the qualifications you gained rather than the school you, or any other candidate, went to. It says here that you got five O Grades . . .

- Whoah. Likesay, gaunnae huv tae stoap ye thair, catboy. The O Grades wis bullshit, ken? Thought ah’d use that tae git ma fit in the door. Showin initiative, likesay. Ken? Ah really want this job, man.

- Look Mr Murphy, you were referred to us by the Department of Employment’s Jobcentre. There’s no need for you to lie to get your foot in the door, as you put it.

- Hey . . . whatever you say man. You’re the man, the governor, the dude in the chair, so tae speak, likesay.

- Yes, well, we’re not making much progress here. Why don’t you just tell us why you want this job so desperately that you’re prepared to lie.

- Ah need the hireys man.

- Pardon? The what?

- The poppy, likesay, eh . . . the bread, the dosh n that. Ken?

- I see. But what specifically attracts you to the leisure industry?

- Well, everybody likes tae huv a good time, a bit a enjiymint, ken? That’s leisure tae me man, likesay. Ah like tae see punters enjoy themselves, ken?

- Right. Thank you, the doll wi the makeup mask sais. Ah could sortay like, love that babe . . . - What would you see as being your main strengths? she asks us.

- Er . . . sense ay humour, likesay. Ye need that man, goatay huv it, jist goatay huv it, ken? Ah’ll huv tae stoap sayin ’ken’ sae much. These dudes might think ah’m a sortay pleb.

- What about weaknesses? the squeaky-voiced kitten in the suit asks. This is one spotted catboy; Rents wisnae jokin aboot the plukes. We have a real leopard cub here.

- Ah suppose man, ah’m too much ay a perfectionist, ken? It’s likesay, if things go a bit dodgy, ah jist cannae be bothered, y’know? Ah git good vibes aboot this interview the day though man, ken?

- Thank you very much Mr Murphy. We’ll let you know.

- Naw man, the pleasure wis mine. Best interview ah’ve been at, ken? Ah bounds across n shakes each cat by the paw.

4 - Review

Spud met Renton back in the pub.

- How did it go Spud?

- Good catboy, good. Possibly too good, likesay. Ah think the dudes might be gaun tae offer us the job. Bad vibes. One thing though, man, ye wir right aboot this speed. Ah never seem tae like, sell masel properly in interviews. Cool times compadre, cool times.

- Let’s huv a drink tae celebrate yir success. Fancy another dab at that speed?

- Wouldnae say naw man, would not say no, likes.

Extract from Hodge’s screenplay for the film Trainspotting

INT. CAFE. DAY

Two milkshakes clink together.

Renton and Spud and seated at a booth, dressed in their own fashion for job interviews.

RENTON

Good luck, Spud.

SPUD

Cheers.

RENTON

Now remember -

SPUD

Yeah.

RENTON

If they think you’re not trying, you’re in trouble. First hint of that, they’ll be on to the DSS, ’This cunt’s no trying’ and your Giro is fucking finished, right?

SPUD

Right.

RENTON

But try too hard -

SPUD

And you might get the fucking job.

RENTON

Exactly.

SPUD

Nightmare.

RENTON

It’s a tightrope, Spud, a fucking tightrope.

SPUD

My problem is that I tend to clam up. I go dumb and I can’t answer any questions at all. Nerves on the big occasion, like a footballer.

RENTON

Try this.

Renton unfolds silver foil to reveal some amphetamine. Spud dips in a finger and takes a dab. He nods in appreciation as he tastes it. Renton leaves the packet in Spud’s hand.

SPUD

A little dab of speed is just the ticket.

————

INT. INTERVIEW OFFICE. DAY

A Woman and Two Men (1 and 2) are interviewing Renton. His job application form is on the desk in front of them.

MAN 1

Well, Mr. Renton, I see that you attended the Royal Edinburgh College.

RENTON

Indeed, yes, those halcyon days.

MAN 1

One of Edinburgh’s finest schools.

RENTON

Oh, yes, indeed. I look back on my time there with great fondness and affection. The debating society, the first eleven, the soft knock of willow on leather -

MAN 1

I’m an old boy myself, you know?

RENTON

Oh, really?

MAN 1

Do you recall the school motto?

RENTON

Of course, the motto, the motto -

MAN 1

Strive, hope, believe and conquer.

RENTON

Exactly. Those very words have been my guiding light in what is, after all, a dark and often hostile world.

Renton looks pious under scrutiny.

MAN 2

Mr. Renton -

RENTON

Yes.

MAN 2

You seem eminently suited to this post but I wonder if you could explain the gaps in your employment record?

RENTON

Yes, I can. The truth - well, the truth is that I’ve had a long-standing problem with heroin addiction. I’ve been known to sniff it, smoke it, swallow it, stick it up my arse and inject it into my veins. I’ve been trying to combat this addiction, but unless you count social security scams and shoplifting, I haven’t had a regular job in years. I feel it’s important to mention this.

There is silence.

A paper clip crashes to the floor.

————

INT. OFFICE. DAY

The same office. The same team are interviewing Spud.

SPUD

No, actually I went to Craignewton but I was worried that you wouldn’t have heard of it so I put the Royal Edinburgh College instead, because they’re both schools, right, and we’re all in this together, and I wanted to put across the general idea rather than the details, yeah? People get all hung up on details, but what’s the point? Like which school? Does it matter? Why? When? Where? Or how many O grades did I get? Could be six, could be one, but that’s not important. What’s important is that I am, right? That I am.

MAN 1

Mr. Murphy, do you mean that you lied on your application?

SPUD

Only to get my foot in the door. Showing initiative, right?

MAN 1

You were referred here by the Department of Employment. There’s no need for you to get your ’foot in the door’, as you put it.

SPUD

Hey. Right. No problem. Whatever you say, man. You’re the man, the governor, the dude in the chair, like. I’m merely here. But obviously I am. Here, that is. I hope I’m not talking too much. I don’t usually. I think it’s all important though, isn’t it?

MAN 2

Mr. Murphy, what attracts you to the leisure industry?

SPUD

In a word, pleasure. My pleasure in other people’s leisure.

————

WOMAN

What do you see as your main strengths?

SPUD

I love people. All people. Even people that no one else loves, I think they’re OK, you know. Like Beggars.

WOMAN

Homeless people?

SPUD

No, not homeless people. Beggars, Francis Begbie - one of my mates. I wouldn’t say my best mate, I mean, sometimes the boy goes over the score, like one time when we - me and him - were having a laugh and all of a sudden he’s fucking gubbed me in the face, right -

————

WOMAN

Mr. Murphy, {leaving your friend aside,} do you see yourself as having any weaknesses?

SPUD

No. Well, yes. I have to admit it: I’m a perfectionist. For me, it’s the best or nothing at all. If things go badly, I can’t be bothered, but I have a good feeling about this interview. Seems to me like it’s gone pretty well. We’ve touched on a lot of subjects, a lot of things to think about, for all of us.

MAN 1

Thank you, Mr. Murphy. We’ll let you know.

SPUD

The pleasure was mine. Best interview I’ve ever been to. Thanks.

Spud crosses the room to shake everyone by the hand and kiss them.

RENTON (v.o)

Spud had done well. I was proud of him. He fucked up good and proper.

————

INT. PUB 1. DAY

Renton and Spud meet up after the interviews.

SPUD

A little too well, if anything, a little too well, that’s my only fear, compadre.

RENTON

Another dab?

SPUD

Would not say no, would not say no.

————

INT. OFFICE. DAY

The Woman and Two Men sit in silence.

————

Reading

Bordwell, D. (1985) Narration in the Fiction Film, London: Methuen.

Chatman, S.B. (1978) Story and Discourse: Narrative Structure in Film and Prose Fiction, Ithaca, NY and London: Cornell University Press.

Giddings, R., Selby, K. and Wensley, C. (1990) Screening the Novel: The Theory and Practice of Literary Dramatization, London: Macmillan.

Harrison, S. (2005) Adaptations: From Short Story to Big Screen: 35 Great Stories That Have Inspired Great Films, New York: Random House/Three Rivers Press.

McFarlane, B. (1996) Novel to Film, Oxford: Oxford University Press.

Rifkin, B. (1994) Semiotics of Narration in Film and Prose Fiction, New York: Peter Lang.

Spiegel, A. (1976) Fiction and the Camera Eye: Visual Consciousness in Film and the Modern Novel, Charlottesville, VA: University Press of Virginia.

The following Internet sites provide useful support to the study of film adaptation:

film.guardian.co.uk/adaptation/

web.cocc.edu/humanities/hir/film/filmadaptation.htm

www.nv.cc.va.us/home/bpool/dogwood/general.html

www.screenonline.org.uk/film/id/526560/