ISSUE 750!
MICHAEL CLARK 1988 | ISSUE 73 The dancer-turned- choreographer tells us: ‘People have asked me why I work with the same people all the time. It’s one of those things which evolves gradually. You can’t put people together and expect miracles immediately.’ (Interview by Alice Bain)
JENNY SAVILLE 1995 | ISSUE 250 The young painter on inspiration: ‘Glasgow is a unique art school in that it teaches you to have total, almost romantic belief in being a painter. Maybe it’s something to do with the building and its tradition . . . [it] constantly reminds you that you are in a school of great painting. It celebrates big work, it likes painting that makes a splash.’ (Interview by Lila Rawlings) SHIRLEY MANSON 1998 | ISSUE 331 The former Goodbye Mr Mackenzie singer hit the big-time with her new band: ‘Garbage were looked on as a joke at i rst. But how the laughter stopped when hit single followed hit single – the eponymous debut album spawned i ve of the blighters and the band went out and proceeded to tear it up live as well.’ (Interview by Alastair Mabbott)
20 THE LIST 1 Sep–31 Oct 2018
THE PROCLAIMERS 1987 | ISSUE 53 The Reid brothers talk inl uences: ‘They are overwhelmingly American. But we are Scottish, y’know. So we’re not trying to be American. But we’re not trying to kid ourselves that we don’t have American inl uences. They come out our way because we do it the way that suits us, in our own accents, ’cause that’s how we feel comfortable.’ (Interview by Alastair Mabbott) PETER CAPALDI 1993 | ISSUE 192 ‘I think you start to erode your own respect for the work that you’ve done if you start compromising all over the place,’ the future star of The Thick of It tells us, long before he regenerated as Dr Who. (Interview by Alan Morrison)
TRAINSPOTTING 1996 | ISSUE 272 Ewen Bremner (Spud in the i lm) recalls his response to the novel: ‘I was excited by it and scared of it because it’s such dangerous material. Irvine Welsh sets up really exciting situations. The possibilities for what can happen in a scene are so outrageous but at the same time it’s really close to home.’ (Interview by Fiona Shepherd)
SEAN CONNERY 1987 | ISSUE 50 As his latest i lm, The Untouchables, is released, we say: ‘It seems to have belatedly prodded many critics into the realisation that Sean Connery is one of the i nest screen actors around . . . See the i lm and you’ll witness a master craftsman at work . . . A top performance in one of the year’s i nest.’ (Written by Allan Hunter)
BJORK 1989 | ISSUE 105 We grab an interview with Sugarcubes-era Bjork. ‘We just wanted to play in Iceland . . . And then we got all these offers from big record companies, and we just said no . . . If we had to leave Iceland, we wanted to go to Japan or Honolulu or somewhere, because we thought that Iceland was just the most brilliant place on Earth.’ (Interview by Alastair Mabbott) ALASDAIR GRAY 1995 | ISSUE 259 The author explains how ground-breaking novel Lanark emerged: ‘Initially l was writing two books . . . I started trying to produce a Scottish version of James Joyce’s Portrait of the Artist as a Young Man. But at the same time I was very excited by Kafka, and Glasgow and Scotland struck me as having a lot in common with The Trial and The Castle.’ (Interview by Andrew Burnet)
PETER MULLAN 1999 | ISSUE 356 The actor-turned- director explains his plans: ‘European actors share a common goal: do good work and have a laugh. For me, that’s where the future has got to lie in making contacts in France and Germany and Italy. Because unless we all band together, I’m afraid Hollywood is going to eat us all alive.’ (Interview by Rob Fraser)