Editing Trainspotting (film) (section)

==Style and themes==
Music has great importance in [[Danny Boyle]]'s films, as evident by the best-selling soundtracks for ''Trainspotting'' and ''[[Slumdog Millionaire]]'', both of which feature many [[Pop music|pop]] and [[punk rock]] artists. In Boyle's view, songs can be "amazing things to use because they obviously bring a lot of baggage with them. They may have painful associations, and so they inter-breathe with the material you're using".<ref>[http://www.bbcamerica.com/shows//blog/2013/03/danny-boyle-brits-brilliant-with-music-but-rubbish-at-film ''Danny Boyle: Brits "Brilliant With Music" But "Rubbish at Film"''] {{Webarchive|url=https://web.archive.org/web/20160302043947/http://www.bbcamerica.com/shows//blog/2013/03/danny-boyle-brits-brilliant-with-music-but-rubbish-at-film |date=2 March 2016 }}, by Paul Hechinger, Published by BBC America, 2013.</ref>

The combination of images and music with the setting of the criminal underworld has drawn comparisons to ''[[Pulp Fiction]]'' and the films of Quentin Tarantino, that had created a certain type of "90s indie cinema" which "strove to dazzle the viewer with self-conscious cleverness and empty shock tactics".<ref>{{cite web|url=https://www.bfi.org.uk/features/danny-boyle-career-10-songs |title=Danny Boyle: a career in 10 songs |date=March 26, 2013 |last=O’Callaghan |first=Paul |website=BFI |archive-url=https://web.archive.org/web/20160506093200/http://www.bfi.org.uk/news-opinion/news-bfi/features/danny-boyle-career-10-songs |archive-date=6 May 2016 |url-status=live}}</ref> This affected the shooting style of the film, which features "wildly imaginative" and "downright hallucinatory" visual imagery, achieved through a mix of "a handheld, hurtling camera", jump cuts, zoom shots, freeze frames and wide angles.<ref>{{cite journal|url=https://www.proquest.com/openview/c907b4cf9efc9f9bec60991094bd10d8/1?pq-origsite=gscholar |title=Fiction into film, or bringing Welsh to a Boyle |archive-url=https://web.archive.org/web/20210910142413/https://www.proquest.com/openview/c907b4cf9efc9f9bec60991094bd10d8/1?pq-origsite=gscholar |archive-date=September 10, 2021 |access-date=10 September 2021 |first=Bert |last=Cardullo |journal=Literature/Film Quarterly |year=1997 |volume=25 |number=3 |pages=158–162 |url-status=live}}</ref> This vigorous style contributed to the "breathless" pace that Boyle's films have been associated with.<ref name="ebert"/>

For the look of the film, Boyle was influenced by the colours of [[Francis Bacon (painter)|Francis Bacon's]] paintings, which represented "a sort of in-between land – part reality, part fantasy".<ref name="grundy2"/> The scene where Renton (McGregor) dives into a toilet is a reference to [[Thomas Pynchon]]'s 1973 novel ''[[Gravity's Rainbow]]''.<ref name="GravitysRainbow">{{cite news | last = Dubravka | first = Juraga | title = ''Socialist Cultures East and West: A Post-Cold War Reassessment'' | pages = 77 | publisher = [[Greenwood Publishing Group]] | date = 2002 | isbn = 9780275974909 | url = https://books.google.com/books?id=hD-adL-aL3wC | access-date = 16 February 2016 | archive-date = 10 September 2021 | archive-url = https://web.archive.org/web/20210910142445/https://books.google.com/books?id=hD-adL-aL3wC | url-status = live }}</ref>