- Title: Slab Boys
- Date: 27th October 1999
- Summary: Folm 4
- Description:THE SLAB BOYS Synopsis: The year is 1957. The place is un-picturesque Paisley and the day is a typical one in the slab room of AF Stobo, carpet makers. That's to say it's a riot of colour and a cacophony of voices as the boys - Phil, Spanky and Hector - lark around, play their radio as if to split ears and give Lucille from the mailroom (every slab boy's dream squeeze) the eye, applying themselves with awe-inspiring gusto to everything but their job - grinding up colours for the designers. For all his joking, Phil has problems aplenty. His mother has just been banged up in the lunatic asylum after setting her hair on fire and jumping through the plate glass window of a gents' outfitters in the High Street. What's more, in her frenzy, she managed to destroy the portfolio of work Phil was preparing in order to achieve his secret ambition - to get a place at Art School. All the boys have spunk enough to realise there's more to life than giving themselves "housemaid's fucking knee grinding up paint for a bunch of deadbeats". For Phil, it's art (his great hero is Giotto, the Italian Renaissance master), for Spanky it's his dreams of America and becoming the next Elvis, and for Hector, the runt of the litter, he's not sure, but if Lucille agreed to be his date at the staff dance that would be one-hell-of-a-start. And Lucille herself, she of the lush larynx? Well. She has high hopes of the Talent Spot and her would-be Svengali Terry, who's actually been to Las Vegas (or so he says), reckons he can groom her for stardom - the new Brenda Lee maybe? Still reeling from his mother's blitzkrieg on his art work, Phil is taken under the wing of Miss Walkinshaw, a genteel, middle-aged spinster who works as a copyist in the design studio. She loans him the surprisingly well-stocked studio at the top of her shabby house so that he can put together a replacement portfolio. But the road to fulfilment is cluttered with clapped -out wrecks and one of them, Willie Curry, the ex-army gaffer of the design studio, discovers Phil's plans for an Art School career and sacks him forthwith. Miss Walkinshaw, too, gets the heave - it seems she equipped her studio by relieving the company stores of enough paintbrushes to make up a full-length sable coat. By the night of the staff dance emotions are running at fever-pitch and the scene is set for a final show-down Cast: PHIL MCCANN ROBIN LAING ALAN DOWNTE DUNCAN ROSS SPANKY FARRELL RUSSELL BLAIR HECTOR BILL GARDINER LUCILLE BENTLEY LOUISE BERRY MISS WALKINSHAW ANNA MASSEY WILLIE CURRY TOM WATSON JACK HOGG MORAY HUNTER MOVIE STAR HERSELF MRS McCANN BARBARA RAFFERTY MALE ORDERLY FORD KIERNAN BERNADETTE JULIE WILSON NIMMO TERRY SKINNEDAR DAVID O'HARA PLAINCLOTHES POLICEMAN RM BOYCE OLD MR RUBENSTEIN ISI METSTEIN YOUNG PHIL WAYNE SMITH YOUNG SPANKY TOM MACMILLAN GINO AT CARDOSI'S JAMES PYE POODLELADY RUBY SLIPPERS CARTWHEEL GIRL VANESSA SMITH THE LARGIE BOYS Drums MARK FORSHAW Keyboard CRAIG JOHNSON Trumpet NEIL WEIR Saxophone BILLY INNES Guitar EL SUPREMO Trombone GRAHAM WEIR Bass IAIN BRUCE Producers Simon Relph Lauren Lowenthal Director/Screenplaywriter/Costume Designer John Byrne Exedutive Producer Ann Skinner Associate Producers Jane Headland Colin Emlyn Director of Photography Seamus McGarvey Editor John MacDonnell Production Designer Luana Hanson Sound Design Stuart Wilson Casting Gail Stevens Andy Pryor Unit Manager Kate Ledger Production Co-Ordinator Jojo Tulloh Producer's Assistant Mike Kelly Production Assistants Arabella Relph Blue Macaskill Jessica Rundle First Assistant Director Mary Ann Wilson Second Assistant Director Alison Goring Third Assistant Director Phoebe Grigor Assistant Director for Crowd Lee Rooney Script Supervisor Margaret Waldie Accountant Jenifer Booth Assistant Accountants Sarah Booth Patrick Joy Focus Puller Baz Irvine Clapper Loader Kirstin McMahon Camera Trainee Neil Davidson Grip Stuart Bunting Boom Operator Andy Moffat Sound Trainee & Assistant Mark Rose 1st Assistant Editor Adam Masters 2nd Assistant Editor Rachel Seiffert Art Directors Charmian Adams Dave Warren Assistant Art Directors Rebecca Holmes Pippa Marks Draughtsman Dave Warren Production Buyer Jerry Organ Art Department Assistant Alistair Edwardson Phil's Drawings by Adrian Wizniewski Celie Byrne Scenic Painters James Hunt Kelvin Guy Make Up and Hair Design Jacqui Mallet Heather Millington Make Up and Hair Assistants Sharz Din Helen Cannon Kim Grey Special Make Up Effects Grant Mason Tony Steers Costume Design Art Quigley Wardrobe Mistress Mamie Ormiston Assistant Wardrobe Mistress Lyndie Macintyre Wardrobe Assistant Frances McGarrity Wardrobe Trainee Cat Shirley ADR Editor Shirley Shaw Foley Editor Peter Elliott Foley Artists Lionel Selwyn Jason Swanscott Dubbing Mixer Adrian Rhodes Prop Master Gordon Fitzgerald Dressing Props Piero Jamieson Stewart Cunningham Standby Props Mat Bergel Props Trainee Anna Selwood Props Driver Gregor Telfer Construction Manager Ross Balfour Carpenters Colin Fraser Brian Adams Muir Balfour Matt Black John Cameron Tommy Dowdalls Derek Fraser Jim Ross Production Story: THE SLAB BOYS, directed by John Byrne and based on his plays "The Slab Boys" and "Cuttin A Rug, was filmed in Glasgow during the summer of 1996. Produced by Simon Relph and Lauren Lowenthal for Skreba in association with Wanderlust, THE SLAB BOYS was funded by Channel Four Films, the Arts Councils of Scotland and England through their lottery funding, and the Glasgow Film Fund. Already established as a painter and set designer, John Byrne wrote his second play "The Slab Boys" in 1978, inspired by his own experiences in a carpet factory paint mix room in Paisley, Scotland. When the play transferred from Edinburgh Traverse Theatre to London Royal Court, Byrne won the Evening Standard Most Promising Playwright Award. Since then, there have been many notable productions, featuring early performances from a host of Scottish actors including Robbie Coltrane, Ewen Bremner, Robert Carlyle, Gerard Kelly and Phyllis Logan. An off-Broadway production in 1983 starred Kevin Bacon, Val Kilmer and Sean Penn, who played the Paisley youths to great acclaim. Rumour has it that Tom Cruise was turned down for the part of Hector. The New York production was enjoyed by American lawyer Lauren Lowenthal, who recognised the cinematic possibilities of the text. Some years later, Lowenthal left her post in The Senate in Washington and moved to New York to become involved in theatre, producing an award-winning one woman show. Lowenthal and her partner in Wanderlust Films, Scottish architect Colin Ernlyn, contacted John Byrne and persuaded him that the play could be adapted for the big screen. In the meantime, following the success of his television series "Tutti Frutti, Byrne had been commissioned by the BBC to write "Your Cheatin' Heart" which explored the world of Scottish Country 'n Western bands, and starred John Gordon Sinclair and Tilda Swinton. Throughout this period, Byrne worked on the screenplay adaptation of THE SLAB BOYS. Lowenthal and Emlyn agreed that Byrne should direct the film, using Scottish talent. At that time, the rights were held by Paramount Studios, acquired in exchange for investment in the New York production of the play. Lowenthal was introduced to UK producer Simon Relph, and, through his company Skreba, the production finance was raised from Channel Four Films, with vital additional funding from the Glasgow Film Fund and the Arts Councils of Scotland and England. John Byrne, as writer, director and costume designer, had very specific ideas about the look of the film. I wanted to create an entire Slab Boys world - 1957 Paisley, but a Paisley of my imagination rather than one that actually existed. I wanted to distil the essence of what it felt like then." Byrne and production designer Luana Hanson re-created their own Paisley in an old warehouse in Tradeston, on the south side of the River Clyde in Glasgow, which was transformed into a temporary studio where both interiors and exteriors were shot. Using life scale models and painted backdrops, the sets were built: the claustrophobic technicolour Slab Room, Cardosi's Cafe and Paisley Town Hall. Similarly, Byrne designed a whole Slab Boys look - the clothes, the hair, the make-up - to resemble the way he paints. The entire film was planned by Byrne in a series of comic story boards, and many of the clothes were decorated by Byrne painting directly onto cloth. To obtain the lighting effect he wanted, Byrne teamed up the Director of Photography Seamus McGarvey, and together they devised a look reminiscent of the work of Jack Cardiff, the "bad boy of technicolour", whose contribution to "Black Narcissus" (also shot entirely inside a studio) was so crucial. Byrne aimed for a look "one notch up from reality", to allow the audience to escape into the world of his imagination. The three principal characters, the Slab Boys, are teenage boys and Byrne was determined that the parts would be cast from among Scotland's talent, as realistically as possible. To this end he trawled the drama schools as well as holding open auditions. Bill Gardiner, who landed the role of Hector, had attended the Paisley Youth Theatre for eight years, where he had first seen the plays as a programme seller. Six months earlier, Gardiner had auditioned for Drama School and been rejected. Ironically, his audition piece was one of Hector's speeches from "The Slab Boys". Russell Barr, a drama school graduate, was originally invited by the casting director to try for the part of Hector, but when John Byrne met Russell, he recognised Spanky Farrell. In the search for Phil McCann, Byrne was invited by an agent to see one of his clients on stage. Robin Laing had been appearing as the lead in the touring theatre production of "Trainspotting", and had been asked to cover for the bronchitis-stricken London lead for five performances only. Byrne attended a matinee reluctantly, but as soon as Laing took to the stage, he knew he'd found Phil McCann. Casting Lucille, the Slab Boys' dream date, proved more time-consuming. Numerous castings failed to find a candidate with exactly the combination of looks and attitude that Byrne knew the role needed. One day, sitting in a Glasgow bar with producer Simon Relph, the two watched a girl walk along the street outside, arguing animatedly with a friend. "Now, that's Lucille!", they declared, and the producer's daughter was despatched after her to invite her for a screen test. Watching her screen test proved Byrne's instincts were sound, and Louise Berry's first ever acting role was secure. To cushion a cast of relatively inexperienced newcomers, Byrne filled the older roles with favourite actors, such as Anna Massey, Tom Watson and David O'Hara. To play the designers at Stobo Carpets, Byrne invited some of his old colleagues from Stoddart's carpets, who enjoyed their on-screen reunion. Glasgow artist Adrian Wisniewski, who did all the paintings and drawing for Phil's art school application portfolio, played an Art School assessor, as did Sandy Moffat, the Head of Painting and Drawing at Glasgow School of Art. Byrne wanted the musical numbers to be a powerful and pungent ingredient. underscoring gem period and flavours of the film, echoing how it felt to be "nineteen, wi' a wardrobe fulla claes". Byrne invited Jack Bruce, bass player with legendary rock group Cream, to help him create the music for the film. Bruce assembled some of Scotland's finest contemporary talent to record a selection of rock 'n roll songs of the era. These included Lulu, Eddi Reader, Pat Kane, Edwyn Collins and The Proclaimers. Bruce, who plays on all the tracks as well as being responsible for the musical arrangements, insisted that the backing tracks be recorded on the original instruments of the period so that the sound is as close to the original as possible. Hailed by the critics as "an exhuberent act of exorcism", "seething with energy" and "brilliant back-chat in a mad comic vision", Byrne's exploration of the agonies of adolesence is as relevant today as when the plays were first performed. In conclusion, John Byrne says 'What I do not want is for the audience to come out of the cinema talking about how "nice" or "interesting" it all looks - I want them to feel like they have been punched in the mouth. This is not an art-house movie - this is a movie I want everybody to see." JOHN BYRNE - WRITER/DIRECTOR/COSTUME DESIGNER "My life story on the back of postage stamp." Born Paisley, 1940. Worked as Slab Boy (A.F. Stoddart and Co), 1957. Glasgow School of Art 1958 - 63. Bellahouston Scholarship - travel to Italy 1963. Went to work as graphic artist with STV, '64 - '66. Sent small 'naif painting to Portal Gallery, London - said it had been painted by his 72 year-old father (a one time busker) - was given a one-man show under nom -de-pinceau Patrick' - exposed in The Observer, and became full-time artist. Was asked to design sets and costumes for Glasgow musical in 1971 - started writing - first play 'Writer's Cramp', put on at Edinburgh Festival Fringe '77. THE SLAB BOYS followed in '78 at the Traverse - transferred to the Theatre Upstairs at the Royal Court - got the Evening Standard Most Promising Playwright Award. THE SLAB BOYS became a trilogy (Travers/Royal Court 1982) - BBCTV Glasgow commissioned 6-part series in 1985 - wrote story about ageing rock 'n roll band ('Tutti Frutti') winner of six BAFTA awards - 'Your Cheatin' Heart' followed in 1990. Wrote and directed autobiographical Arena 'Byme on Byrne' in 1988 -wrote and directed 'Boswell and Johnson's Tour of the Western Isles' (Paravision / BBC) 1993. Currently working on first novel for Faber & Faber. SIMON RELPH - PRODUCER In 1979, after many years in the film business, which included seventeen years as assistant director, and the role of production administrator at the National Theatre, Simon Relph established Skreba Films with partner Ann Skinner. Among his early productions are 'Privates on Parade', 'The Ploughman's Lunch', 'The Return of the Soldier', 'Secret Places', 'Comrades' and 'Wetherby'. From 1986 - 1990, Relph was Chief Executive of British Screen, responsible for investing over £20 million in UK productions in five years. After leaving British Screen, Relph's first production was the late Louis Malle's 'Damage', starring Jeremy Irons and Juliette Binoche. This was followed by Mike Newell's 'Enchanted April', 'Camilla', starring Jessica Tandy and Bridget Fonda, Nick Ward's 'Look Me In The Eye' and the surf movie 'Blue Juice', starring Ewan McGregor, Sean Pertwee and Steven Mackintosh. In addition to the company's film credits, Skreba has produced award-winning television drama, including 'A Very British Coup' and 'God On The Rocks'. "Simon Relph is a Governor of the British Film Institute, a member of the Executive of the Producers Association and Vice-Chairman (Film) of the British Academy of Film and Television Arts. Relph's next production is 'Land Girls', directed by David Leland, and starring Anna Friel, Catherine MacCormack and Rachel Weisz. LAUREN LOWENTHAL - PRODUCER Lauren Lowenthal was born and raised in Buffalo, New York State. Trained as a Constitutional lawyer, she worked for many years for Senator Kennedy in the Senate, before moving to New York where she became involved in theatre, producing an award-winning one woman show. While working on the development of THE SLAB BOYS, Swift lived and worked in Scotland. For the past ten years she has worked as a journalist and screenwriter, mainly in Los Angeles. She is currently writing a project for PolyGram. affiliate Working Title, set in Scotland, entitled 'Songs and Strangeways'. 1957's Paisley, a dark and stylish comedy about the aspirations of three backroom boys who grind the colours for the designers in a carpet factory.
- Broadcaster:Channel 4
- Collection: Channel 4
- Genre:Feature Films
- Producer:Film Four Limited
- Transmission Date:27/10/1999
- Decade: 1990s