With the Miliband: Thomas Piketty. (Image: Dan Murrell)
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Thomas Piketty: a modern French revolutionary

Piketty’s book Capital is being acclaimed as the most important work of political economy to be published in decades. It has certainly caught the attention of Ed Miliband’s inner circle.

In Balzac’s novel Le père Goriot (1834-35), the impoverished young nobleman Rastignac is confronted with a dilemma by the cynical convict Vautrin: should he work and study hard to become a lawyer, only to earn a mediocre income, or should he seduce an eligible heiress and lay his hands on an inheritance sufficient to pay him an income worth ten times as much? Rastignac mulls the path of seduction until he is asked to bump off a brother who stands inconveniently between the heiress and her fortune. Murder is a step too far, even for a social climber.

Rastignac’s dilemma is one of the literary vignettes that enliven the most remarkable work of economics in recent years, if not decades: the French economist Thomas Piketty’s Capital in the 21st Century. It was first published last year in France, and its appearance in English this spring (Belknap/Harvard, £29.95) has caused an intellectual sensation on both sides of the Atlantic. It has been called “one of the watershed books in economic thinking”, a “magisterial treatise on capitalism’s inherent dynamics” and a “bold attempt to pick up where Marx left off and correct what he got wrong”. The American Nobel economics laureate Paul Krugman has described it as “epic”, with a “sweeping vision”, while Jacob Hacker – the Yale political scientist credited with coining the term “predistribution” – has compared Piketty to de Tocqueville.

Piketty, who was born in 1971, has made his name studying the historical evolution of income and wealth distributions in advanced economies. A son of parents from the radical soixante-huit generation, Piketty was an intellectual star in the making from an early age, completing his doctorate on wealth redistribution at 22 before becoming an assistant professor at Massachusetts Institute of Technology. A few years later, dissatisfied with the mathematical abstractions of US economics, he returned to France and began researching the work that would establish his academic reputation, Top Incomes in France in the 20th Century. From there, Piketty collaborated with other academic luminaries such as Emmanuel Saez, Tony Atkinson and Facundo Alvaredo to produce groundbreaking empirical studies of the highest incomes in leading capitalist economies, now synthesised into the World Top Incomes Database. These have galvanised new interest in the causes and consequences of widening inequality, while helping inspire the slogan of the Occupy movement: “We are the 99 per cent.”

The central thesis of Piketty’s latest book is that in societies where the rate of return on capital outstrips economic growth, wealth inequality ineluctably rises. Once constituted, capital reproduces itself faster than economic output increases. The entrepreneur becomes a rentier and inequalities harden. We are returning to the 19th-century world of the novels of Balzac and Jane Austen, whose characters are caught up in the trials and tribulations of inheriting, living off or losing wealth.

Piketty’s thesis is arresting because he buttresses it with ample historical data to show that the reduction of inequality in the middle of the 20th century was an exception, not the norm in a market economy. Ordinarily, he argues, if capital is reinvested it yields between 4 and 5 per cent a year, outstripping economic growth. Wealth inequalities therefore increase. This has been true of almost all human history. The 20th century was exceptional because of the capital shocks of two world wars, decolonisation and the growth of the welfare state. The huge inequalities of the belle époque gave way to a more egalitarian distribution as capital was destroyed, taxed or nationalised to pay for the war effort and the building of public services and social security. Growth, on the other hand, was relatively high because of technological catch-up and convergence, particularly in Europe and Japan following the Second World War.

In the late 1970s and 1980s, these processes started to go into reverse, as growth rates slowed, capital was rebuilt, taxes on wealth and top incomes were cut, and the institutions of postwar social democracy were dismantled. Today, wealth holdings in the advanced economies are six times as large as annual national income – the same sort of level as existed before the First World War.

There are important differences in the structure of wealth inequality between these two epochs, however. In the Edwardian era, the richest 10 per cent owned virtually all the nation’s wealth in countries such as France and Britain; the wealthiest 1 per cent owned roughly half, and the middle 40 per cent only 5 per cent. Today, the top 10 per cent own 60 per cent of Europe’s wealth and 70 per cent in the US, while the middle class owns between a third and a quarter, respectively. In historical terms, this growth of a “patrimonial middle class” has been an important transformation, underpinning its political importance in distributional conflicts and its swing position in the electoral landscapes of advanced economies. In contrast, nothing has changed for the assets of the poorer half of the population: it still owns less than 5 per cent of the wealth, as it did before the First World War.

Piketty also shows that increased income inequality in the past 30 years has changed patterns at the top. The top 1 per cent of the income distribution now lives off higher labour incomes, and not just rents from wealth. As property has penetrated into the middle classes, so the “coupon-clippers” cohabit with the “working rich” at the very top. These are the “supermanagers” or top executives of large firms who have vastly increased their compensation packages since the 1980s.

In 1929, the year of the Wall Street crash, income from capital was the primary resource of the top 1 per cent of the income hierarchy in the US; in 2007, you have to climb into the top 0.1 per cent before that is true. Of this super-elite group at the pinnacle of the income distribution, between 60 and 70 per cent consists of top executives. Contrary to popular myths, less than one in 20 is a celebrity or sports star, and only one in five is a banker. There has been a “skyrocketing” of the pay packages of leading executives in large firms in the non-financial as well as financial sectors.

What accounts for this? Piketty argues that it has nothing whatever to do with managerial talent. It is the product of collusion between executives and their boards, pure and simple. When marginal tax rates onthe super-rich ran at 90 per cent, as they did in the 1960s and 1970s in the US and elsewhere, there was little point awarding oneself a huge pay rise. But when those rates fell to 25 per cent, there was every incentive to do so.

This income inequality produces its own peculiar ideology, which Piketty terms “meritocratic extremism”. Without very high pay, the argument goes, only those who inherit wealth can amass riches, which would be unfair. Very high pay rewards talent and enterprise and therefore contributes to social justice. Piketty is scathing in his contempt for this ideology.

“This kind of argument,” he writes, “could well the lay the groundwork for greater and more violent inequality in the future. The world may come to combine the worst of two past worlds: both very large inequality of inherited wealth and very high wage inequalities justified in terms of merit and productivity . . . Meritocratic extremism can thus lead to a race between supermanagers and rentiers, to the detriment of those who are neither.”

Given these findings, it is not surprising that Piketty’s prognosis is bleak. Without countervailing political action, we can expect worsening trends. Population will be stable or falling in the advanced economies, while the rate of technological progress cannot be expected to exceed 1-1.5 per cent. Hence, if the rate of return on capital remains between 4 and 5 per cent, it will easily outstrip growth. In the 21st century, current wealth inequalities will therefore be amplified, the consequences of which, Piketty argues, “are potentially terrifying”. We will all live under the dead hand of the accumulated inequalities of past generations. “The earth belongs to the living,” Thomas Jefferson once wrote. But if Piketty is right, in the coming century, the dead will rule the world as “the past devours the future”.

A more competitive market – doubling down on the free-market experiment – will not spring this trap. As Piketty noted in a recent interview, “. . . the fact that returns on capital are higher than the growth rate has nothing to do with monopolies, and cannot be resolved by more competition. On the contrary, the purer and more competitive the capital market, the greater the gap between return on capital and the growth rate.”

Instead, we need to rebuild the democratic institutions that can redistribute income and wealth. His signature policy is a global tax on wealth, levied progressively at different wealth bands. He is politically realistic enough to know that formidable practical and political obstacles lie in the path towards that objective. So he sets out various steps towards it, such as greater transparency about asset ownership, and automatic transmission of bank data to tax authorities, while urging the adoption of a wealth tax at the European level. A tax at 0 per cent on fortunes below €1m, 1 per cent between €1m and €5m, and 2 per cent above €5m would affect about 2.5 per cent of the population of the European Union and raise about 2 per cent of Europe’s GDP.

This would of course require greater political and fiscal integration in Europe, which is why Piketty was a co-signatory, with Pierre Rosanvallon and other French intellectuals, to a recent open letter calling for tax-raising powers and a budget for the eurozone, held accountable to a new European chamber of national parliamentarians. Is this utopian? No more so than the “stateless currency” the eurozone already possesses, he says.

Is Piketty’s analysis too pessimistic? Thoughtful politicians will embrace much of his analysis. Stewart Wood, Ed Miliband’s intellectual consigliere, has read the book and called for its arguments to be debated widely. Piketty’s work gives substantive grounding to the core argument of Miliband’s leadership that Britain’s post-Thatcherite economic model generates socially destructive, unjustified and ultimately unstable inequalities. But parties aspiring to elected office will also be deeply wary of the politics of levying supertaxes on the wealthy, and with good reason: François Hollande is currently the most unpopular president in French history.

When the social-democratic and liberal politicians of the mid-20th century built the good society, they did so with an organised working class at their backs, pushing them forward. No such historical force exists today in advanced capitalist democracies. Nor do we really know from Piketty’s analysis what political action can achieve, because his analysis of the reduction of wealth and income inequality in the 20th century doesn’t quantify how much came from wars, and how much from public action, such as taxation.

Piketty also rests his central claim that the rate of return on capital exceeds growth largely on historical data, which leaves him open to the criticism that Dean Baker and other economists have made, namely that he underplays the potential to reduce inequality offered by progressive policies other than taxation, such as reforms to corporate governance and intellectual property rights, or egalitarian education and skills, wage enhancement and public investment strategies. He leaves largely unexplored the potential for spreading capital ownership itself more equitably in society, so that more can share in its returns. Indeed, his work could be used to justify wealth predistribution policies, such as employee share ownership, profit-sharing, the creation of new sovereign wealth funds and universal asset stakes for citizens, instead of redistributive wealth taxes.

The magisterial sweep of Piketty’s Capital is such that he cannot answer everything. His range is immense. And his open, fluent style will guarantee him a wide readership. In contrast to much of what passes for orthodox economics, he is engaged with the problems of the real world (indeed, he took time out from his academic career to advise the Socialist candidate Ségolène Royal in her bid for the French presidency in 2007). The discipline of economics, Piketty argues, remains trapped in a juvenile passion for mathematics, divorced from history and its sister social sciences. His work aims to change that.

Perhaps his greatest achievement is to rescue the study of inequality for “political economy” – a term that went out of fashion in the 20th century but which is now experiencing a revival. Despite the enormity of the challenges Thomas Piketty’s book poses, it ends on a note of urgent activism, not acquiescence: “If democracy is some day to regain control of capitalism, it must start by recognising that the concrete institutions in which democracy and capitalism are embodied need to be reinvented again and again.”

Nick Pearce is the director of the Institute for Public Policy Research, where Thomas Piketty will be speaking on 30 April. For details visit: ippr.org/events

Nick Pearce is the director of the Institute for Public Policy Research.

LAURA HYND FOR NEW STATESMAN
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Rebel with a realist cause

Michael Winterbottom, Britain’s busiest film-maker, discusses cinema, social mobility and how we are returning to the 19th century.

In the early 1960s, Lindsay Anderson was enjoying the power and esteem that he had always thought the English would be too philistine to grant him. His Free Cinema movement, launched in February 1956 with a series of modest, hand-held documentaries and a strident manifesto, had mutated into “kitchen-sink realism”, a series of popular feature films that included Tony Richardson’s Loneliness of the Long Distance Runner, Karel Reisz’s Saturday Night and Sunday Morning and his own This Sporting Life. Anderson seemed dangerously close to becoming the  leading spokesman of mainstream British cinema. But then, as he recalled, “Realism gave way to the myth of Swinging London. The Americans, God bless them, put up a lot of money and the British made a lot of bad films.”

When, bored and broke, the Americans went home, taking many of his colleagues along with them, Anderson stayed behind. He made if . . ., which won the 1969 Palme d’Or at Cannes, and a sequel, O Lucky Man!, and then – nothing. For most of the 1970s, British cinema was virtually an oxymoron. But when the industry came back to life at the start of the next decade, with GandhiChariots of Fire and the formation of Channel 4 Films, he refused to celebrate or capitalise, preferring to tut and clutch his brow.

In November 1985, the month when his former protégé Stephen Frears first startled a general British audience with My Beautiful Laundrette, which updated kitchen-sink realism with new causes (multiculturalism, gay rights) and villains (Thatcher, the National Front), Anderson was making gentle progress on a backward-looking endeavour – a television documentary about Free Cinema, to form part of an initiative he despised called British Film Year. A born dawdler, equally petrified of success and failure, he was having trouble with the stills and inserts. “I finally get the operation organised,” he wrote in his diary, “by insisting that the attractively cherubic Michael Winterbottom be my assistant.”

When I spoke to Winterbottom last year, he told me, “Lindsay Anderson was a director I really admired and I wondered why he had made so few films. Then I met him. There was a lot of messing around” –bickering, procrastination, mischief. And perfectionism: “Even on the Free Cinema documentary, he ended up reshooting ­everything.” Winterbottom wanted to emulate Anderson’s work – the intransigence, the looseness – but he realised that in order to follow those examples and still have a career, he needed to make peace with prevailing industrial conditions and devise a plausible, even hard-nosed working method.

Three decades later, he is constantly in work. Alongside Frears, he is Britain’s busiest film-maker. At any given moment, he occupies two or more points in a process that goes something like: development, financing, casting, filming, editing, festival circuit, domestic release. But where Frears has graduated to working with Hollywood studios, Winterbottom relies on independent financing and employs a no-fuss, often hand-held, digital shooting style. David Thompson, the former head of BBC Films who is now an independent producer, told me, “Michael pioneered a way of working that we tried and failed to get other directors to adopt: if you can’t get the crew in a minivan, then you’ve got too many people.”

The results so far have included 24-Hour Party People, a comedy about the Manchester music scene that captured Winterbottom’s own philosophy of productive chaos, and 9 Songs, in which a climatologist recalls a relationship through nights at rock concerts and uncensored days in bed. Winterbottom’s most recent film, The Emperor’s New Clothes, a documentary about inequality, presented by Russell Brand, was his 28th. And that doesn’t include The Trip, the BBC2 comedy series starring the comedians Steve Coogan – a Winterbottom regular – and Rob Brydon, which was released outside Britain as a pair of films, The Trip and The Trip to Italy: to date, his only sequel.

***

Working alongside the producer Andrew Eaton, Winterbottom has established an atmosphere of rigour and determined focus that allows him to take risks. Eaton, who has known Winterbottom for more than 30 years, told me that “no other director comes to set with such a strong sense of what he’s trying to get combined with a complete openness to what could happen in the day”. When Winterbottom was making the family drama Wonderland in the late 1990s, he took his skeleton crew into London bars that were open for business. Punters became extras. “The people in a place are so much part of the environment,” Winterbottom said. “We were trying to get a different texture, to let the characters interact with the real world.”

Winterbottom and I were having breakfast in a London hotel restaurant. When I arrived, he had just finished a television interview about The Face of an Angel, a rumination on the Amanda Knox trial starring Daniel Brühl and Cara Delevingne, which opened in 2014 to baffled reviews. Winterbottom, who turns 55 in March, still looks like a cherub, but a cherub going grey at the sideburns. He is affable, even happy-go-lucky, but also remote – withdrawn. His gaze carries a slight air of wistfulness, as if he is distracted by some opportunity five yards beyond your shoulder. And though he talks very quickly, he is a specialist in prevarication and reversal. Assertions are parried, questions dodged. But when he’s comfortable, he’s fluent.

Winterbottom continued to tell me about the thinking behind Wonderland, which many consider his greatest film. He compared it to Notting Hill, which was being shot further west around the same time. “As soon as you go in and control everything, you’re destroying the essence of what London is. If you want to catch what normal life is like, you have to work in quite a small way, a hand-held way, in real places.”

Yet Wonderland is never dowdy. Shots of, say, an average night at the Slug and Lettuce or the bingo hall, or yet another frustrating afternoon at Selhurst Park, are offset by the lithe, buzzing images (a 16mm negative blown up to 35mm), the restlessly inquisitive editing and Michael Nyman’s soaring symphonic score. The result far exceeds anything made during the kitchen-sink period in the breadth of its humanism and the range of its social portraiture, and deserves to be recognised as one of the great achievements of British cinema.

The Scottish actress Shirley Henderson said that working on Wonderland, the first of six collaborations, wasn’t like being on a film set, with “caravans” and co-stars. “You were just waiting on a pavement somewhere.” To help Henderson research her role as the working-class Londoner and single mother Debbie, one of three troubled sisters, Winterbottom sent her on what she called “errands”: going clubbing in character, or visiting the sort of hairdresser at which Debbie worked. Henderson added the details garnered on these field trips to a screenplay, written by Laurence Coriat, that was treated as far from sacrosanct. Speaking generally of her work with Winterbottom, she said: “You know the lines – and you might get to say them, you might not. He might run the scene another five minutes after your lines are finished.”

I asked Henderson how Winterbottom’s toss-the-script-aside approach compared with the process favoured by Mike Leigh, who directed her in Topsy-Turvy. With Leigh, she said, “You improvise for hours to find a honed scene that you shoot the next day. With Michael, it’s a quicker process. You don’t rehearse as such. You’re improvising on film. If he’s not got enough, he’ll just go again and again and again.” At breakfast, Winterbottom, who recoils from analysis, defined his ambitions with a shrug: “Try to keep it simple, get as close to the characters as possible, encourage actors to be spontaneous.”

Wonderland was Winterbottom’s sixth feature film and marked a breakthrough for him, in particular a turn away from the professionalism of Welcome to Sarajevo, his polished, starry account of TV journalists covering the Bosnian War, in favour of a realist aesthetic. He told me that he doesn’t see himself as part of any movement – “What, like Free Cinema? No, no” – but his desire to find an alternative to conventional dramatic narrative connects him to a loose group of artists and writers intent on bringing more “reality” into their work. Prominent among them are the authors David Shields, who mentions Winterbottom in his manifesto Reality Hunger, and Karl Ove Knausgaard, whose My Struggle series Winterbottom has been reading (“I’m very impressed”). But where Shields and Knausgaard have turned away from the novel in favour of more direct, less dissembling forms such as the memoir and the essay, Winterbottom’s desire to get as far away from artifice and as close as possible to hectic, complex, undramatic life has resulted not in a choice of one form that solves all the problems but a sensibility that he brings to a range of genres.

Winterbottom’s war against tidy artifice has taken various forms. Sometimes it is built in to a project’s conception: he made 9 Songs because he thought that his previous love story Code 46 had been timid in the way it presented sex. It has determined his approach to source material. When he was adapting Thomas Hardy’s Tess of the d’Urbervilles as Trishna, he combined the roles of the “spiritual” Alec and the “sensual” Angel because, he told an interviewer, “most people are a combination of both”. But with Jim Thompson’s novel The Killer Inside Me, he took the opposite approach: he found Thompson’s portrait of psychosis so complete, so convincing, that he treated the book “like the Bible”.

Winterbottom’s widely acknowledged formal innovations are a means to an end. I mentioned the editing in his 2008 film, Genova, which constantly prevents exchanges and encounters from settling down into a set piece. He dismissed the idea that he was consciously experimenting. “When you’re making a film, you’re worried about the specifics of what you’re trying to do and then building out from that,” he said. The starting point of Genova is the dynamic between the dad and the two daughters. “I have two daughters [from his 13-year relationship with the teacher and novelist Sabrina Broadbent] and one aspect of the film, like with Wonderland and London, was to portray a relationship that I would recognise. The aim was to not make it dramatic, because your relationships at home aren’t very dramatic.”

***

In his diary, Lindsay Anderson – who often quoted the ancient maxim “Character is destiny”– marvelled at Winterbottom’s ability to attend to things that mattered and ignore the things that didn’t. Where Anderson was an idealist and a perfectionist, Winterbottom was “wholly unsentimental” – “conscientious” in tracking down stills, his assigned task, but “quite happy to absent himself from crucial, if routine stages of finishing”.

It was partly a product of breeding. Where Anderson, scarred by boarding school, loved to defy those with power (having a private income helped), Winterbottom attended the local grammar school in Blackburn and grew up in kitchen-sink territory; a scene in John Schlesinger’s 1962 film A Kind of Loving was shot at the factory where his father worked. When he was a teenager, his favourite book was Jude the Obscure, Hardy’s novel about a farm labourer who dreams of going to Biblioll College, Christminster. Winterbottom made it to the real-world version – Balliol College, Oxford – where, in a desultory, distracted way, he studied English. (In 2012 he returned to Oxford to become the first Humanitas Visiting Professor in Film and Television.)

Winterbottom likes to say that he’s simply attracted to good stories and interested in the same things as “everybody else”, but The Emperor’s New Clothes, which came out in April last year, emerged from his personal history. A product of grammar schools and grants, he considers himself a beneficiary of the “social mobility and access” that burgeoned after the Second World War. (He campaigned for Jack Straw in Blackburn in 1979.) “The idea that to be ‘modern’, you need an unregulated free market that helps the rich get richer is bullshit,” he said, adding that its widespread acceptance has been “one of the triumphs of that ideology”. He continued, “We had a phase of about fifty years where what was ‘modern’ was the idea that things will get fairer – there will be a narrowing of the gap, maybe not in a radical way, but at least a general trend in that direction.

“It’s fairly hard to believe that we used to collectively own the water, gas, coal, trains, telephone. People were being taxed at 98 per cent on unearned income, 83 per cent on earned income. Instead, we’ve returned to the 19th-century idea that if you’re born poor, you’re going to stay poor.”

After his English degree, he completed a one-year course in film-making in Bristol. Then he needed a job.

“There was no way I would have been able to hang around and do ‘internships’,” he told me. “I became a trainee assistant film editor at Thames Television” – which is how he came to work for Anderson and where he was given his first professional directing job, on a pair of documentaries about the Swedish director Ingmar Bergman, from whom he learned that if you establish fruitful partnerships and retain a clear sense of what you’re trying to achieve, film-making is “not that hard”. (Bergman may have been “just as complicated psychologically” as Anderson, “but when it came to the work, he was disciplined”.)

In 1993, after the Bergman documentaries and then a run of commissions in television drama, including the opening episodes of Jimmy McGovern’s ITV series Cracker, Winterbottom was itching to make his first feature film. Frank Cottrell Boyce, a friend from Oxford, had written a script entitled Delirious, about car thieves in Liverpool, but it was failing to attract a backer, so they moved on to a new idea: another crime thriller set in Lancashire, but with a difference – it could be done cheaply, with money cobbled together from public funding bodies. “All our anger and frustration about not making the other one went into it,” Winterbottom recalled. “We did it for nothing. It was a very stressful phase. And that was Butterfly Kiss” – in which a pair of chalk-and-cheese lesbians cause havoc on the M6.

In Icons in the Fire, an attack on “practically everyone in the British film industry”, in which Winterbottom is one of the few heads spared, the critic Alexander Walker recalled his surprise when the director followed up Butterfly Kiss with a “period drama”. But Jude – the first of Winterbottom’s three Hardy adaptations – was fast-moving and stark, not at all Merchant-Ivory. After Jude, there came, in swift succession, “Bosnia war reportage, period western, East End soap opera, Ulster social comedy, glam-rock clubland, overland asylum-seeking” – the films in question being Welcome to SarajevoThe ClaimWonderlandWith or Without You24-Hour Party People and In This World. (Walker forgot I Want You, which should probably be characterised as Hastings psychosexual noir – still, somehow, a genre of one.) “Bewildering,” Walker concluded: “at the same time, curiously courageous for a British director.”

***

Winterbottom has continued in this bewilderingly courageous way, combining speed with variety, adding to his genre hoard and keeping the operation small. While former collaborators such as Rachel Weisz and Kate Winslet have been starring in globetrotting thrillers and 3D blockbusters, or, in the case of Christopher Eccleston, David Tennant and Peter Capaldi, playing Doctor Who, Winterbottom has carried on telling intimate tales about what he calls “home, family, things like that”; among them Everyday, a drama about a struggling mother (played by Shirley Henderson) that was shot over five years. Where his near contemporary Danny Boyle went off to make Slumdog Millionaire, Winterbottom made Trishna, an Indian adaptation of Tess, described by its star, Freida Pinto, who was also the lead actress in Slumdog, as “a hardcore independent project”.

Generally, his dealings with the US have been marked by resistance. On its release in 1997, Harvey Weinstein’s company Miramax distributed Welcome to Sarajevo – even screened it at the White House for Bill Clinton. But when Weinstein offered Winterbottom $1.5m to direct Good Will Hunting the director said the script wasn’t good enough. It took him months of conversations with the novelist John Irving to reach the same conclusion about another Miramax project, The Cider House Rules. (Each film won an Oscar for its screenplay.) Winterbottom didn’t make a film on American soil until 2009, when he went to Oklahoma to shoot The Killer Inside Me, a thriller whose violence against female characters prompted outrage and earned him a nomination for the Sexist Pig Award from the Alliance of Women Film Journalists. (He lost out to Mel Gibson.)

On two occasions – both before the sexist pig accusation – he had been approached by women bearing offers too good to refuse. In 2004 Angelina Jolie brought him A Mighty Heart, an adaptation of Mariane Pearl’s memoir about her husband, the murdered journalist Daniel Pearl. Then, a few years later, Naomi Klein approached him to make an archival documentary based on The Shock Doctrine, her book about disaster capitalism. (Klein later changed her mind about the format – she wanted something more topical and responsive – and the film was made without her input.) But on the whole, the ideas for Winterbottom’s films have emerged from Revolution Films, the production company he started with Andrew Eaton in 1994.

In 2001 Winterbottom and Eaton were developing a project about illegal immigrants but couldn’t decide on a starting point. Then the 9/11 attacks happened, and within a few weeks Winterbottom and the writer Tony Grisoni were wandering around a refugee camp in Peshawar, looking for young Afghan men willing to play a version of themselves and do the trip to London for real. (“I thought it was going to be in English,” David Thompson, one of the executive producers of the film that emerged from the trip, recalled. “I was somewhat surprised when it came back in Pashto.”)

The year 2003 marked the high point of Winterbottom’s acclaim. In February, barely a year after Winterbottom had touched down in Peshawar, In This World – the asylum film’s eventual title – was accepted to show at the Berlin International Film Festival, where it won three prizes, including the Golden Bear. When it was released in Britain, the critic Sukhdev Sandhu, who was born in 1970, called it the best British film of his lifetime. Soon afterwards, Winterbottom appeared in a Guardian critics’ poll of the best directors currently practising. The citation announced: “British cinema would be lost without him.”

Peter Bradshaw, the Guardian critic who wrote that citation, has been less impressed with the films he has made in the past decade. “It’s all very good letting narrative and all those traditional things go hang,” he said recently, “but it does make for a rather miscellaneous experience in the cinema.” He described the films’ “rough-and-ready quality”, which he identifies in all Winterbottom’s recent work except for The Killer Inside Me and The Trip, as “more lax than loose”, and added: “I often wonder whether he’s thinking about the next project.”

Eaton identifies misunderstanding in both criticisms. To the idea that Winterbottom’s work since around Wonderland has been lax or slapdash: “Do you have any idea how hard it is to make stuff as natural as that, to have that flow?” To those who say Winterbottom makes too many films: “If Michael was a plumber, and you asked him to do work on your house, he wouldn’t say, ‘Oh, I’m far too creatively exhausted, I couldn’t possibly do it.’ It’s just the next job.”

Thompson offered a more matter-of-fact reflection. “That’s just the way he works –he does these things in a white heat,” said. “He’s finished them before you realise he has shot them. It’s like writing a song. Some film-makers spend two years fiddling with a film. Michael would go crazy. And I don’t think the result would be any better.” (Bradshaw conceded that “part of his mojo is to keep moving – something we critics don’t understand”.)

Thompson added, “Some of his films work better than others – he knows that.” In 1997, when he had made four films, ­Winterbottom reflected on the benefit that Ingmar Bergman derived from a hefty back-catalogue: “There’s actually enough volume that if he does a comedy that doesn’t succeed, it’s merely a blip in the overall work.”

***

A few days after I first interviewed Winterbottom, I went to the Revolution Films office in Clerkenwell, central London, to meet Melissa Parmenter, the composer who is now his regular producer (Eaton serves as an executive producer). Parmenter has a fondness for rhyme: “totes mahotes”, “okey-dokey”, “good plan, Stan”. Instead of “meltdown”, she says “granny panic”. She described Michael Nyman’s music for Wonderland, not inaccurately, as “an insane score – the best score ever”.

At first, Winterbottom and Parmenter, who live together and have a four-year-old son, seem an unlikely partnership. Where Winterbottom can be evasive, perhaps defensive, Parmenter is open and unguarded. She seems clearer about who Winterbottom is than he is. She is also more outwardly passionate. During my talk with Winterbottom, he used the word “love” twice – about Nyman’s music and Robert Altman’s McCabe and Mrs Miller. Parmenter, by contrast, said she “loves”, among other things, The Killer Inside MeGenova, “the melancholy bits of The Trip to Italy”, Nyman, and “the fact that Michael does what he wants”. But under the Noughties colloquialisms and granny-panic veneer, Parmenter is grounded and – to use a phrase that she might – on it, a total convert to Winterbottom’s heads-down ethos. She resembles her own description of Tracey Emin, whose 2004 film Top Spot she produced: “She looked like she had no idea what she was doing, but she knew totally what she was doing.”

“We make quite different films,” she told me. “It’s weird. What’s Michael’s most commercial film? But he doesn’t aim for that. He just makes what he wants to make.”

I asked Parmenter why he is so good at winning permission to do that. “Well, the idea of all his films is interesting. I mean, Road to Guantanamo: who wouldn’t want to see the story of the Tipton Three? It’s got to be made. Or 9 Songs – we’re going to show real sex. Filming Everyday over five years – that’s an amazing idea. We went to Tessa Ross at Channel 4 and said, ‘We’re going to film these people doing nothing.’ She said, ‘Here’s £1.1m. Bye!’ Obviously we reported back to them.”

It must help, I said, that there hadn’t been any disasters.

“That’s down to Michael. He’s so aware of all levels of the film-making process. He’s got his fingers in all the pies. It gets a bit much sometimes. [As Winterbottom told me, “When you’re a director, everything that happens is kind of your fault.”] But if you’re doing a small film, you can’t say, ‘Actors aren’t allowed trailers’ – if there’s a trailer even anywhere near, he goes mental – and then turn around and say, ‘I don’t want to know anything about the budget.’”

When I caught up with Winterbottom last summer, he expressed some frustration that The Emperor’s New Clothes – the documentary with Russell Brand – hadn’t been shown more widely, and that The Face of an Angel – the Amanda Knox drama– had been rounded on by British critics. Yet it was clear that his heart wasn’t really in it: both films were well on their way to becoming past obsessions. He’d been up at 6.30 that morning, doing rewrites for a new project, Russ and Roger Go Beyond, a comedy starring Will Ferrell, about the making of Russ Meyer’s camp musical Beyond the Valley of the Dolls. (I asked if Ferrell was someone he knew socially and he replied: “No, strangely not.”) Although the script originated in Hollywood and the production, based in Los Angeles, would almost certainly involve trailers, Winterbottom talked about Russ and Roger less as a necessary commercial compromise (“the money isn’t vastly better”) than as a much-needed break. He reminded me that “developing a film from scratch comes with a burden of effort”.

Still, it turned out that his heart wasn’t really in that one, either. Just before the end of the year, he quit. Someone muttered something about creative differences. Burdensome or not, it seems he prefers success – and failure – on his own terms: working under the Revolution banner with a small, familiar crew and room for improvisation with actors he calls friends. It is said he’s getting ready to shoot The Trip to Spain.

Leo Robson is the New Statesman’s lead fiction critic

Leo Robson is the lead fiction reviewer for the New Statesman.

This article first appeared in the 28 January 2016 issue of the New Statesman, Should Labour split?