Amanda Palmer
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Amanda Palmer: Playing the Hitler Card

We live in an age of endless, foaming outrage. The only answer is to try to feel empathy for other people, no matter who they are.

“You can’t play the Hitler Card,” said Neil. “Godwin’s law: once you play it, you’re out. Trust me.”

“But it’s different. Hitler’s the example people use. That’s why I’m using him.”

“Don’t do it.”

“You’re missing the point. If I’m talking about people talking about absolutes, I’ve got to use him.”

He looked at me with that polite, British look he uses when he knows I’m wrong.

“If you must use a Nazi as an example, darling, you’d be better off using Mengele. He was the one who did unthinkably gruesome experiments on pregnant women and their babies.”

“Thank you for that lovely image.” I looked down at my swelling belly. “But that’s not a meme. You don’t ‘play the Mengele Card’ . . . Most younger people probably won’t know who that is.”

“He was the villain in William Goldman’s Marathon Man.”

“Don’t change the subject. This isn’t about books. This is about Hitler.”

Neil sighed. I sighed back. This conversation was going nowhere.

 

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“Playing the Hitler Card”, otherwise known as “reductio ad Hitlerum”, is the point in a discussion “where someone compares an opponent’s view to those of Adolf Hitler or the Nazi party”. Godwin’s law states: “As an online discussion grows longer, the probability of a comparison involving the Nazis or Hitler approaches one.”

Both Neil and I have been engulfed in our fair share of what we refer to as “internet kerfuffles” and we now discuss online PR tactics in the way that other married couples discuss whose turn it is to drop the kids off at school.

“Honey, your blog defending this person’s honour is really noble but if it kerfuffles, do you have time to deal with the three days of Twitter and Tumblr backlash?”

“Not really, I’m insane with deadlines.”

“Oof. Then don’t post it. You don’t have the time or energy to kerfuff this week.”

 

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Everyone’s tired of internet outrage. It has got to the point where we censor ourselves so carefully to avoid kerfuffling that we might as well get off the internet altogether and go back to plain, old talking in cafés and pubs, because those places are where people can actually be honest. Erika Moen, who draws a sex-positive web comic called Oh Joy Sex Toy, wrote a blog recently about a handful of female celebrities who had had their naked phone selfies stolen and distributed. She wrote a friendly reminder to people that if they wanted to protect their identities from hackers while taking naked selfies, they should consider not including their distinguishing tattoos, or, obviously, their faces. She then got an outraged email from a long-time fan, calling her out as a “face shamer”.

People on the web are addicted to ­outrage. It’s become an epidemic but nobody seems to know quite what to do about it.

I look at Monica Lewinsky’s Ted talk about the “price of shame”, the US journalist Lindy West’s befriending of her worst troll and the inexplicable harassment-vortex morass that is Gamergate and I also see a widening conversation about the reality and effects of hatred. If there’s a theme in the backlash to the backlash, it is this: to defuse the Outrage Generation, we need better empathy skills.

A few years back, I endured a relentless ten months of internet controversy and I quickly learned the red flags, symptoms and lifespan of an average kerfuffle. There are two-day kerfuffles and two-week kerfuffles. There are kerfuffles that stay contained on Twitter and those that spill on to the blogs and, worse still, into print media.

The year 2012 began with my Kickstarter Kerfuffle (when I crowdfunded an album through online donations), which evolved a few months later into the Volunteer Musician Kerfuffle. Just as those were dying down, the spring of 2013 brought the Poem Kerfuffle, which started when I sat down to reflect on the harrowing days following the Boston Marathon bombing, which happened a few blocks from my apartment.

After the lockdown, Neil and I drove from Boston to New York and back, listening to the radio news non-stop as the ­horrific manhunt for the Tsarnaev brothers crescendoed and exploded. We heard our friends on the radio – one of them had a son who had been friends with Dzhokhar, the younger brother. She had been at a backyard graduation party with him. Both of them had gone to high school in Cambridge, Massachusetts, near our house.

Dzhokhar was 19.

I wondered how he felt.

The poem I posted on my blog was a stream-of-consciousness sequence that connected the feeling of being trapped in “the bottom of the boat” (the location in which Dzhokhar was ultimately found, not far from the house I was raised in) and my flailing sense of helplessness in the face of overwhelming pain and tragedy. It was about my parents, my inability to
leave Boston because of a friend’s battle with cancer, my fragile marriage and my mundane indecision.

Before I uploaded it, I showed the poem to Neil, my personal kerfuffle filter. His red flags didn’t wave. He recognised the poem’s ingredients and commented on the punctuation and we set off for lunch. I called it “A Poem for Dzhokhar”, posted it and read the first few comments. The readers seemed to like it.

By the time I turned on my phone after lunch, the poem had been discovered by the right-wing news sites and the blog had 1,000 comments. One website said it was “the worst poem ever written in the English language”. Even generally lefty Boston journalists wrote op-eds condemning me for daring to write such an insensitive poem at such a sensitive time. Too soon, they said. Too far. Too much.

 

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What frightened me about the Poem Kerfuffle weren’t the attacks on my poetry skills. It was the realisation that I was more alone than I had thought in my stance on compassion, expression and how we use art to cope with tragedy. How dare you empathise WITH A MURDERER? My Twitter feed had filled up with hate so fast that I couldn’t even read it all. A television news programme referred to me as “a loser”. Someone told me that I should have a bomb shoved up my cunt. An emailed death threat came in, credible enough for me to talk to the police. One concerned Boston journalist found himself “wondering if this trend of empathy had gone too far”.

Distinctions between empathy and jihad­ist leanings were quickly blurred; I was ­labelled a terrorist sympathiser. Some of my local friends told me that they couldn’t stand by “my support of the bombers”. But I wasn’t supporting their actions. I was imagining their feelings. I wasn’t totally alone, however. Most of my friends shook their heads in sadness about the misunderstanding. And slowly, over the next few days, I received a string of emails and voicemails from local Bostonians who wanted to tell me, in private, that they, too, had felt empathy and compassion and even concern for this 19-year-old kid. But they dared not say it aloud.

“He’s exactly my son’s age,” a friend wrote to me. “I can’t not imagine how he must be feeling. It’s heartbreaking. But you don’t blog those things, Amanda. That’s too much.”

Too soon, too far, too much.

I kept running the phrase in my head: “wondering if this trend of empathy had gone too far”. What’s too far? Is there even such a thing?

I believe that to erase the possibility of empathy is to erase the possibility of human progress. Erasing the possibility of empathy also threatens to erase the possibility of art. We watch Oedipus Rex not because we celebrate and condone the concept of motherfuckers and father killers but because it is cathartic to see our worst nightmares exposed in a safe context. We do not cheer when the blade cuts deep. We weep. We empathise. And we put the play on over, and over, and over again. These differences are crucial. Empathy is not sympathy and compassion is not condonation. Stage blood is exactly that. We spill it, on the stage and on the page, precisely because we can do it without harm.

I am, perhaps, an extremist in this regard. But I am starting to think that the only true antidote to extreme hate may be extreme love, a radical empathy. Jihads of compassion. Crusades of kindness. A movement in which we attempt to love our enemy . . . Oh, hold on. Jesus already said all that. Wait – did it work?

Let’s imagine, for a moment, that it might. In order to practise extreme empathy, you have to be able to empathise with . . . well, anybody. You have to be able to imagine loving and feeling compassion for the worst of the worst. Last year, this philosophy got me into a bit of a tangle with the various editors of my memoir-manifesto, The Art of Asking, when I drafted a section explaining that, yes, you must feel compassion even for the worst of the worst. For Hitler. There. I did it. I played the Hitler Card. But does it still count if I’m using the card not to tear down my opponent, but rather to point out that neither my debate partner nor Hitler is truly my opponent? My editors shook their heads. Frankly, nobody will care, Amanda. Please, take it out.

They won. I took him out of the book.

It is painful to imagine the ingredients – familial, cultural, environmental and mental – that can lead a person to commit actions so atrocious and so unconscionable that we cannot speak of them. But I think it is necessary. As the world grows more extreme, more violent and more polarised, as we wrap ourselves into ever tighter filter bubbles of news and opinion, as we find it easier and easier to divide the world into black, white, us and them – as these things happen, this exercise in imagination becomes increasingly essential. Not just for the artists, the poets, the musicians and the playwrights. For everyone.

On 13 May, the jury in Boston began deliberating over Dzhokhar Tsarnaev’s guilt and fate. I found myself thinking not about the rights and wrongs of the death penalty but trying to imagine how it would feel to spend days, months, years in isolation, hearing the screams and wails of the guy in the next cell who mutilates himself with razor blades and swallows nail clippers. Trying to imagine how it would feel to be strapped to a gurney as a fellow human being inserts a death needle into both of my arms. I found myself imagining what it must be like to take the witness stand to explain how I looked down to see my own bloody legs lying on the sidewalk ­beside me. And I imagined how it would feel to be on a jury, having to drive home every night after court, my head hitting my pillow knowing that I must, along with 11 others, cast a vote for someone to live or to die. I can’t imagine I was alone in imagining these things.

The Martin Luther King biographer Taylor Branch recently shared a heart-rending piece of history: the last words uttered by one of the three civil rights activists killed by armed Klansmen during the Mississippi Freedom Summer of 1964, as they made a road trip to get folks to register to vote. In the moment before he was shot on a dark Southern highway, he said to the Klansman: “Sir, I know just how you feel.”

Then, bam. Dead. Given that his two friends were also shot and killed, you may wonder how we know. We know because the Klansmen who confessed to the murders shared that phrase in their testimonies. Those seven words apparently haunted them.

Frans de Waal, the Dutch primatologist, says: “Human morality is unthinkable without empathy.”

Here’s the thing: I did not and cannot know exactly how that teenage bomber felt. But I will dare to imagine. I must. I believe we all must. I believe it is only through the flexing of that small, frail, imaginary muscle of empathy that we will build the strength to erect a new human architecture on this fragile, fragile planet – a stronger one, one of connectedness and understanding.

Sir, I know just how you feel.

Wishful thinking. But perhaps. One day.

This article first appeared in the 27 May 2015 issue of the New Statesman, Saying the Unsayable

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Can celluloid lovers like Christopher Nolan stop a digital-only future for film?

Despite proponents like the Dunkirk director, physical film is finding it tough in the modern age. 

“Chris Nolan is one of the few producing and directing films right now who could open that film. He is one of the all-time great filmmakers.”

No prizes for guessing which new release Vue CEO Tim Richards is talking about. Aside from its box office success, aside from its filmmaking craft, aside even from its early reception as an Oscar favourite, Dunkirk sees Nolan doing what Nolan does best: he has used his latest film to reopen the debate about celluloid.

Until relatively recently all film was projected from that old, classic medium of the film reel - a spool of celluloid run in front of a projector bulb throwing images on to a screen. It comes mainly in two forms: 35mm (standard theatrical presentations) or 70mm (larger, more detailed presentations most popular in the 60s and 70s). Fans say it provides a “warmer” colour palette, with more depth and saturation than modern digital formats.

But now it’s hard to even see movies on film to make the comparison. After George Lucas, godfather of the Star Wars franchise, shot Star Wars Episode II: Attack of the Clones entirely in digital rather than on physical film, the rollout of digital progressed with clinical efficacy. Within ten years, film was almost wiped out, deemed to be impractical and irrelevant. Modern cinema, it was argued, could be stored in a hard drive.

Christopher Nolan set out to change all that. He championed film as a medium against the industry trend, producing (The Dark Knight, The Dark Knight Rises, Interstellar) in super-detailed, super-sized IMAX 70mm. With Dunkirk, Nolan has taken that further by screening the film in 35mm, 70mm and IMAX 70mm.

Nolan is not the medium's only poster boy – it is symbolic that the new Star Wars trilogy, 15 years on from Attack’s groundbreaking digital filming, is now being shot on film once more. This summer, Dunkirk may well be seeing the biggest rollout of a 70mm presentation in cinemas for 25 years, but in 2015 Quentin Tarantino’s The Hateful Eight saw chains and independent cinemas having to retrofit 21st Century cinemas for a 20th Century presentation style. It was a difficult process, with only a handful of screens able to show the film as Tarantino intended – but it was a start.

Today, celluloid is, ostensibly, looking healthier. A recent deal struck between Hollywood big wigs and Kodak has helped. Kodak will now supply celluloid to Twentieth Century Fox, Disney, Warner Bros., Universal, Paramount and Sony. It’s a deal which is not only helping keep Kodak afloat, but also film alive.

Kodak has also gone a step further, launching an app to help audiences find 35mm screenings in local cinemas. Called ‘Reel Film’, it endeavours to back Nolan and co in ensuring that celluloid is still a viable method of film projection in the 21st century.

Even so, whether Nolan’s film fightback has actually had any impact is unclear. Independent cinemas still screen in film, and certainly Vue and Odeon both have film projectors in some of their flagship screens, but digital dominates. Meanwhile, key creatives are pushing hard for a digital future: Peter Jackson, James Cameron and the creative teams at Marvel are all pioneering in digital fields. Whether or not film can survive after over a decade of effacement is a difficult – and surpisingly emotionally charged – question.

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Paul Vickery, Head of Programming at the Prince Charles Cinema in London, is the kind of person you might expect to talk all about how physical film is a beautiful medium, key for preserving the history of cinema. History, he tells me, is important to the Prince Charles, but it's a surprise when he saysfilm is actually more practical for their operation. Because not every film they screen has been digitised, access to old reels is essential for their business.

“If you completely remove film as an option for presentation as a cinema that shows older films,” he says, “you effectively cut 75 per cent of the films that you could possibly show out of your options, and you can only focus on those that have been digitised.”

Vickery says the debate around film and digital often neglects the practicality of film. “It's always focusing on the idea of the romance of seeing films on film, but as much as it is that, it's also to have more options, to present more films. You need to be able to show them from all formats.”

That’s a key part of what makes the Prince Charles Cinema special. Sitting in London's movie-premier hub Leicester Square, the Prince Charles is renowned for its celluloid presentations of older films and has made a successful business out of its 35mm and 70mm screenings of both classics and niche films.

“If there is the option to show film and digital, we tend to take film as the option because it's also something you can't replicate at home,” he explains. “It's also just the nature of how film is seen on screen: its image clarity, its colour palette, the sound is just something that's very different to digital, and I think that's something that's very worth saving.

“Not many people have 35mm projectors at home. If you have it on Blu-Ray or DVD, to see it on film is a way of dragging someone out from their house to come and see it at the cinema.”

Currently screening is Stanley Kubrick’s 1968 epic 2001: A Space Odyssey in 70mm. It’s an incredible presentation of what Vickery says is a seven or eight year-old print struck from the film’s original negatives: the colour of the picture is far richer, while the fine detail in some close-up shots is on par with modern movies. Even more impressive, though, is that the screening is packed. “Fifteen years ago, there would be cinemas where that would be almost on a circuit,” laments Vickery. “We've just stayed the course, and that's something that's just fallen away and we're one of the last, along with the BFI, to show films from film.

“There’s still a bit kicking around, but as we do more and more of it, we seem to be pulling out those people who are looking for that and they seem to be coming back again and again. The repertory side of our programme is more popular than ever.”

That popularity is seemingly reflected in its audiences’ passion for celluloid. Vickery tells me that the PCC’s suggestions board and social media are always filled with requests for film screenings, with specific questions about the way it’s being projected.

For Vickery, it’s a mark of pride. “It sounds like inflated ego almost,” he begins, as if providing a disclaimer, “but it's why I think the work we do and the BFI do and any cinema that shows films from film is about history. By us continuing to show film on film, studios will continue to make their film print available and keep them going out. If people stop showing films on film, they'd just get rid of them.

“Once they're all gone, they only way we're ever gonna be able to see them is if they're taking these films and digitising them, which as you imagine, is always going to be the classic set of films, and then there'll be very select ones will get picked, but it's not gonna be every film.

“You have to keep showing films from film to keep the history of cinema alive in cinemas.”

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History is something that the BFI is committed to preserving. 40 per cent of their annual programming is projected on celluloid, and they loan around 200 prints to venues each year. Their new “BFI 2022” initiative will produce 100 new film prints in the next five years.

Most recently they have focussed on safeguarding their archive, the BFI’s creative director Heather Stewart tells me when we meet her in her office in the BFI’s artsy offices just off Tottenham Court Road.

“We got money from the government to renew our storage which was a big deal because the national collection really wasn't safe,” she says  “There was work at risk because it was warm and humid and we have bought a fantastic, sub-zero state of the art storage facility in Warwickshire in our big site there and our negatives are there. So our master materials are all in there safe - all the nitrate negatives and all that. In 200 years, people will be able to come back and make materials from those, whether digitising or analogue.”

Stewart tells me that it’s important to do both: “Do we at the BFI think that audiences need to see films in the way the filmmaker intended? Yes. That's not going away - that's what we're here for. Do we want as many audiences as possible to see the film? Yes. So of course we're interested in digital.”

The restoration and printing project is attracting lots of “international interest” according to Stewart: just one example is that the BFI are looking into partnering with Warner Bros in their labs in Burbank, California.

“We're becoming the only place left that actually loans film prints around the world so that you can see the films the way they were intended,” she says. “So if you don't have any kind of renewal programme, you'll eventually just have blanked out, scratchy old prints and you can't see them."

They're getting financial support too, she says: “There are people like Christopher Nolan, Quentin Tarantino, Paul Thomas Anderson [director of Oscar-winner There Will Be Blood whose 2012 film The Master was shot and screened in 70mm], a lot of people who are very committed to film, and so there's conversations going on elsewhere and with the film foundation about bringing other investments in so we can really go for it and have a fantastic collection of great great 35mm prints for audiences to look at.”

As a fan of the film reel, Stewart is passionate about this. I put to her the common suggestion that lay audiences can’t tell the difference between screening on film, and digital. “I don't agree with that", she says. "If you sit with people and look at it, they feel something that you might not be able to articulate.

“It's the realism the film gives you - that organic thing, the light going through the film is not the same as the binary of 0s and 1s. It's a different sensation. Which isn't to say that digital is 'lesser than', but it's a different effect. People know. They feel it in their bodies, the excitement becomes more real. There's that pleasure of film, of course but I don't want to be too geeky about it.”

Yet not every film print available is in good condition. “There's a live discussion,” says Stewart. “Is it better to show a scratched 35mm print of some great film, or a really excellent digital transfer?”

There’s no neat answer.

But Stewart is certainly driven by the idea of presenting films as closely as possible to the filmmakers’ true vision. “If you're interested in the artwork,” she explains, “that's what the artwork has to look like, and digital will be an approximation of that. If you spend a lot of money, and I mean really a lot of money, it can be an excellent approximation of that. But lots of digital transfers are not great - they're cheap. They're fine, but they're never going to be like the original.”

The process of restoration doesn’t end with digitisation. Keeping film copies in order to have originals is hugely important given how quickly digital media change. Film is a constant form of storage which does not alter. As Stewart defiantly puts it, “all archives worldwide are on the same page and the plan is to continue looking after analogue, so it ain't going anywhere.”

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The BFI were kind enough put on a display of how film projection works in practice. Tina McFarling, Media Advisor, and Dominic Simmons, Head of Technical, provide a tour of two screens at BFI Southbank. Chatting in the projection room above the screen which hosted the 70mm première of Dunkirk, their passion for celluloid was on display.

Standing next to two mammoth 70mm projectors, Simmons talks through the real-terms use of film, and the technical expertise behind it. “It's a lot more labour intensive than sticking digital prints on, but it's something we want to do,” he says.

One of the projection booths at the BFI

During the visit, the team are prepping a rare 35mm screening of the documentary I Am Cuba to be shown that afternoon. Simmons says that operating a celluloid projector is a “more complex operation” than digital. Looking at the endless labyrinth of film and sprockets, it's easy to believe.

“If you're screening from film in a cinema,” he says, “then you need engineers, technicians who are capable of doing it, whereas a lot of multiplexes have deskilled their operation.”

Simmons says that, while larger chains have one engineer to oversee every screen with the actual process of running the films centralised with a centre loading playlists, the BFI has twenty-two technicians, each closely overseeing the projection of a film when on duty.

“There's so much about the different elements of the presentation that you need to know that all comes together with the sound, the lighting and the rest of it.

“When you're starting a film, it's more of a manual operation. Someone needs to be there to press the buttons at the right time, manage the sound, operate the curtains, and attach the trailers to the feature.”

Having skilled operators is all very well, but of course you need to have the equipment to operate in the first place. “We have to make sure that the equipment is kept and utilised as well as making sure the prints are available, and then the skills will follow”, he says.

Simmons says many are likening the film fight back to vinyl’s resurrection, but has a rueful smile when he talks about film being described as “hipsterish” and “boutiquey”.

He also points out that the quaint touches that make film attractive to this new, younger audience – blemishes, the occasional scratch – are a headache for projectionists. “For me,” he says, “that's quite difficult because a bad print of a film is never a good thing, but if it's a bad print of a film that can't be seen any other way...” He trails off sadly.

The threat of damage to film prints is constant, he says. “Every time you run a film print through a projector there is some element of damage done to it. You're running it over sprockets at loads of feet per second.”

He switches a nearby projector on – it’s loud, quick and, after leaning in to look more closely, it’s easy to see that it’s violent. “It's a really physical process,” Simmons continues. “The film is starting and stopping 24 times a second.”

The idea that shooting on film, for which the very raw material is in short and ever-decreasing supply, is endangered is a tragic one. “There's a finite amount,” Simmons says. “People aren't striking new prints, so if you damage a print, the damage is there forever.”

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The Prince Charles and the BFI are in a privileged position to protect endangered film stock. A friendly partnership between them, which sees the BFI lending reels to the Prince Charles, as well as benefitting from the business of London’s rabidly cinephile audience, allow them to prioritise screening on film the majority of the time. Not every cinema is so lucky.

While the historic Ultimate Picture Palace in Oxford does have a 35mm projector, owner Becky Hallsmith says that it’s mainly the digital projector in use “for all sorts of logistic reasons”.

Though Dunkirk’s push for film projection was a welcome one, it still didn’t make sense for the UPP to screen it. “Certainly we thought about it, but I felt that if you're going to see it on celluloid, you probably want to see it on 70mm, so we decided not to get it on 35mm.”

Economic factors come into effect here too – the UPP, based just out of the city centre in Cowley, vies for Oxford’s filmgoers’ love with the Phoenix Picturehouse in nearby Jericho. While they do have slightly different markets, Hallsmith was aware that the Picturehouse was already set to screen Dunkirk in 35mm, leading her to decide not to.

 “It's not like I'm saying we never do it” she clarifies. “But there are reasons I haven't this time.”

Hallsmith was also aware that not all of her projectionists are trained in screening film, saying that, by screening Dunkirk in digital, she was “taking that little headache out of the equation”.

For the UPP, practicality of this kind trumps sentiment, given the cinema’s small operation. “I'd love it if I had the time to work out what films had beautiful 35mm prints and programme accordingly,” she says, “but I just don't have the time to put that amount of thought into details of programming. We're tiny. I'm doing all sorts of different jobs around the cinema as well. The programming is by no means the least important - it's the most important part of the job - but there is a limit to how much one can do and how much research one can do.”

Despite the practical issues related to 35mm, Hallsmith is still glad to have the option available, saying that when the digital projector was installed in 2012, there was enough room for the installation to account for the 35mm one – and to revamp it.

Despite many 35mm projectors being sent to an unceremonious death in skips, some projectors that are replaced for digital successors are cannibalised for parts. Hallsmith was a beneficiary. “Most of the bits on our 35mm projector are quite new,” she explains, “because they had all this stuff that they were taking out of other cinemas, so they upgraded our 35mm for us because they had all the parts to do it with.”

But Hallsmith is grounded when I ask her if having both projectors in operation is important. “It's important for me,” she laughs. “One of my real pleasures in life is to sit at the back near the projection room and to hear the film going through the sprocket. It's one of the most magical sounds in the world and always will be for me.

“But I know that for a lot of our customers, it is neither here nor there, so I have mixed feelings about it. It's not like I think everything should be on 35mm. I love it, but I can see the practicalities.”

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It is certainly practicality that’s governing cinema chains. Cineworld, Odeon and Vue have all seen huge expansions in recent years. Vue chief Tim Richards, says celluloid is a “niche product”, but the admission is tinged with sadness.

“The problem that we had,” he says about the 70mm screenings of Dunkirk, “with the conversion to digital that happened globally, there are literally no projectors left anywhere, and it's very, very hard to get one. We managed to find a projector and then we couldn't find anybody who actually knew how to run it. There are very real practical issues with the medium.

“To reinforce that we have a new look and feel to our head office, and I really wanted to have an old analogue 35mm projector in our reception and we couldn't find one. We had thousands of these things, and we had none left. We couldn't even get one for our reception!”

Even with a working projector and a trained projectionist, Richards says the format has “very obvious issues” with mass consumption. Again on the subject of Dunkirk, this time in 35mm, he says, “One of the prints that arrived was scratched. It's something that's been in the industry for a long time. If you have a big scratch, you simply can't screen it. You've got to get another print, especially when it will run through part of the film.”

It’s something that saddens Richards, who still says that projecting on film forms part of the “philosophy” of Vue. “We’re all big supporters [of film] and we love it. We've all been in the industry for between 25 and 30 years, the whole senior team. We genuinely love what we do, we genuinely love movies.”

That said, Richards, who is a governor of the BFI, is firmly committed to refining digital, more practical for Vue’s multiplexes. “If you go down and look at what we opened up in Leicester Square, our new flagship site, it's a 100 year old building where we shoehorned in new technology so it's not perfect, but it gives you an idea of what we're doing."

The new site has two Sony Finity 4K resolution projectors working in tandem – as well as the brand new Dolby Atmos sound system. The dual projection gives the screen a brighter, deeper hue. From a digital perspective, it is bleeding edge, and the set up is being rolled out across the UK and Germany, with 44 sites and counting. Richards is, as you would expect, enamoured with the results, claiming “that screen stands up to anything in the world”. What might be more surprising are the reactions he claims that it has elicited from celluloid devotees.

“There were a lot of old hardcore film fans there who were pleasantly surprised at the quality” he says. “People think of digital as being that new, TV-at-home which has got that clinical feel to it, and they don't feel it's got that warmth and colour saturation. This [Finity presentation] has that warmth of an old 35mm or 70mm, so I don't think the future is going back.”

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For Richards and Vue, the future appears to be as bright as that 4K Sony Finity screen in Leicester Square - for celluloid, not so much. While the appetite for watching movies on film might be growing at a promising rate for indie exhibitors, the list of technical and logistical problems is still insurmountable for many smaller venues - saying nothing of the race against time to preserve easily-damaged prints.

The main concern is an ephemeral one: the preservation of the knowledge needed to run a film projection. When the BFI’s Dominic Simmons speaks about the skills of his team and the need to pass those skills on, it evokes near forgotten skills such as thatching and forging. If the BFI and the PCC have anything to say about it, those projection skills will live on, but it’s unclear how far their voices can carry in a digital multiplex age.

As for the voice of celluloid-lover-supreme Christopher Nolan, even he too is shouting down what seems to be an unstoppable march towards a convenient digital future. But in a groundswell of growing interest and passion for the film reel, it seems that a director so obsessed with playing with time in his films seems to have bought exactly that for celluloid. Time is running out on the film reel, but there might be more of it left than we thought.

This article first appeared in the 27 May 2015 issue of the New Statesman, Saying the Unsayable