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Two sides of the Coin

As Barack Obama and Gordon Brown prepare to invest extra troops in the latest attempt to defeat the

"Strategy without tactics is the slow road to victory," wrote Sun Tzu in The Art of War, "but tactics without strategy is the noise before defeat." Stanley McChrystal, the top US military commander in Afghanistan, would do well to heed the words of the ancient Chinese general.

McChrystal is a lead member of the counter-insurgency (or "Coin") brigade that now dominates the US national security establishment. Coin theory emphasises a "population-centric" over an "enemy-centric" approach. It disinters the language of "clear, hold and build", resonant of the Vietnam era, and describes soldiers and marines as "nation-builders as well as warriors" (to borrow a phrase from the US army's much-lauded 2006 counter-insurgency field manual, co-authored by the celebrated General David Petraeus). Coin is predicated on the idea that it is possible to win supporters for an insurgency by providing security and basic services, and ensuring the presence of a strong, legitimate government.

Or, as McChrystal put it, in a memo to President Barack Obama leaked in September: "This new strategy must . . . be properly resourced and executed through an integrated civilian-military counter-insurgency campaign that earns the support of the Afghan people and provides them with a secure environment." Without extra troops, said McChrystal, the mission "will likely result in failure".

Critics of the new focus on counter-insurgency theory claim it is a tactical gimmick that enables policymakers to avoid thinking long and hard about what the endgame in Afghan­istan will actually look like. It is not a recipe for winning the war in the long run, they say; it is only for avoiding defeat in the short run.

“Coin doctrine is, at best, a collection of tactics that may or may not apply to a given situation," says Celeste Ward, a former deputy assistant secretary of defence under George W Bush. "But because of the absence of real discussion about US strategy and priorities, Coin has been elevated to the status of a strategy."

Coin's popularity, Ward told me, is that it "offers a framework that is palatable to people from very different political points of view: there is a unity of vision among both neocons and traditional Democrats". The former are excited by its emphasis on more troops, the latter by its focus on winning "hearts and minds" and "nation-building". It is for this reason, she says, that in Washington, DC today "counter-insurgency is king".

The proponents of Coin - or "Coinistas", as they have come to be known - point to the success of the 2007 US military "surge" in troop numbers in Iraq under the leadership of General David Petraeus, which they credit with reducing the levels of violence and insurgency across the country.

It is this "surge narrative" that has emboldened the Coinistas, but traditionalists, such as Colonel Gian Gentile, director of the military history programme at the US Military Academy at West Point, remain unconvinced.

The dramatic drop in violence in Iraq was the result of "a decision by senior American leaders in 2007 to pay large amounts of money to Sunni insurgents to stop attacking Americans and join the fight against al-Qaeda", says Gentile, who remains an outspoken critic of Coin despite being an active-duty officer. "Coupled with this was the decision by the Shia militia leader Moqtada al-Sadr to refrain from attacking coalition forces."

Gentile, who commanded a cavalry squad­ron in west Baghdad before the surge, says his "fundamental mission was to protect the people" and the "overall methods that the US army employed at the small-unit level where [he] operated were no different from the so-called new counter-insurgency methods used today".

Aside from the Iraq surge, Coinistas also point to earlier examples from history where counter-insurgency methods seem to have succeeded - in particular, the British colonial experience in Malaya (now Malaysia) between 1948 and 1960.

“Malaya is the 'gold standard' for Coin," says the historian Michael Vlahos, a member of the national security assessment team at Johns Hopkins University. But, he argues, this is a mistaken view: the Chinese Communist insurgents were a tiny and unpopular outside movement removed from the population, the British had a close and credible relationship with the ruling princes, and the local people were politically passive. And, it should be noted, it still took the British a dozen years to prevail.

None of those favourable conditions holds in Afghanistan, where the war has now entered its ninth year. The Taliban represent a huge section of the Pashtuns, the country's largest ethnic grouping, who are largely unrepresented in the political and military establishment of the "new" Afghanistan; and neither America nor Britain is considered a friendly nation.

The Pashtuns are among the most fiercely tribalised and nationalist peoples in the world, united only against a foreign invader. The thread running through almost all insurgencies is opposition to foreigners. Sending more and more troops increases the size of the foreign footprint in Afghanistan, undermining the legitimacy of the host government. As even the US defence secretary, Robert Gates, has worried in the not-so-distant past: "Too many forces could look a lot like an occupation."

A numbers game

The Coin theory of "clear, hold and build" is manpower-intensive, relying on an increased number of counter-insurgents to maintain widespread law and order. The field manual emphasises the importance of "troop density", or the ratio of security forces to inhabitants: "20 counter-insurgents per 1,000 residents [or 1:50] is often considered the minimum troop density required for effective Coin operations".

The CIA estimates Afghanistan's population, as of July 2009, to be roughly 28.4 million. Thus, going by the 1:50 ratio, the size of the US-led coalition force would need to be approximately 568,000 troops.

The US military commitment to Afghan­istan stands at 68,000 troops. There are about 38,000 non-US troops in Nato's International Security Assistance Force (Isaf) also deployed in the country, including 9,000 from the UK. The expected US troop surge of up to 40,000 - the number McChrystal is said to be demanding - would take the total to only 146,000, or just over 400,000 troops short of the number needed to satisfy Coin's own textbook definition of "minimum troop density".

The Coinistas, however, claim that their ratio allows for the host nation's military and police forces to be included in the total figure.Would this make a difference? Even adding in the 97,000 Afghan police officers and the 100,000-odd Afghan soldiers leaves the Nato-led force more than 200,000 counter-insurgents short of the "minimum".

Furthermore, the Afghan National Army is plagued by desertion: 10,000 recruits have disappeared in recent months. Soldiers are under-equipped and underpaid; some 15 per cent of them are thought to be drug addicts. Dominated by Tajik troops from the north of the country, the "national" army has little or no credibility in the southern, Pashtun areas of Afghanistan, where the Taliban mainly operate, and from where they draw ethnic support.

Meanwhile, the Afghan police, one member of whom shot dead five British soldiers on 3 November, are prone to infiltration and corruption and lack proper training. They have lost roughly 1,500 staff to insurgent violence this year and around 10,000 policemen are absent without leave.

“The Afghan army is useless and the police are corrupt," says Dan Plesch, director of the Centre for International Studies and Diplomacy at the School of Oriental and African Studies. "So what does McChrystal propose? More useless troops and corrupt police. It's a counter-intuitive solution."

According to Plesch, there is a yawning gap between Coin theory and practice. "It's all fine on paper, but that doesn't translate into success on the ground," he told me. "You're still the foreign infidel with big boots on. You are still bombing, shooting and occupying."

But Coinistas are nothing if not optimistic, or even triumphalist. "Coin theorists tend to imply a kind of determinism: if Coin precepts are followed, the campaign can be successful," says Ward. Or, in the words of Vlahos: "Do this and then this, and at the right moment add this ingredient and . . . you win."

“For all its claims to novelty and modernity, Coin is eerily reminiscent of [the Napoleonic military thinker] Jomini at his worst - a list of prescriptive doctrines that claim to be valid for all times and places," says Colonel Douglas Macgregor, the retired senior military officer who commanded US cavalry troops during the first Gulf war.Macgregor, like Gentile, is critical of this latest plea from hawks to deploy US military force for utopian political ends. "We cannot 'fix' Afghanistan with military power, nor can we shape the destiny of hundreds of millions of Muslims living in the region. Only the people who live there can do that, because nations are built from within, not from without."

Taliban red herring

As a young officer in the Gurkhas, John Mackinlay experienced a conventional Maoist-style insurgency at first hand in the rainforests of North Borneo during the 1960s. But, as he argues in his new book, The Insurgent Archipelago, such experiences are of no use to modern counter-insurgents confronted with the threat of post-Maoist, globalised attacks. "Malaya is so long ago that it is not relevant," he told me.

“The Americans think they can take their fire extinguisher and go abroad to squirt some water, put out the blaze and go home," says Mackinlay, who teaches in the war studies department at King's College, London. "That's bollocks." The Taliban insurgency, he argues, is a red herring and sending more troops is a distraction. What matters, he says, is the al-Qaeda insurgency across the globe. Mackinlay distinguishes between what he calls an "expeditionary campaign" against insurgents in Afghanistan and the "domestic campaign" against extremists in the UK. His criticism of the obsession with Coin is that the domestic campaign should have "primacy" and that "the expeditionary campaign is antithetical to the domestic campaign, because it pisses off your average Muslim punter in Bolton".

The Taliban have no known interest in attacking mainland Britain (or America). Of the 15 major terror plots that UK security agencies have successfully prevented since 11 September 2001, none has been linked to Afghanistan. Of the 90 or so Islamists imprisoned in Britain on terrorism offences, not a single one hails from Helmand. On the contrary, Mackinlay tells me, "Afghanistan is the recruiting sergeant for what is happening in the UK."

As centre-left governments in the US and UK prepare to commit additional troops to the Afghan war effort, his words seem to go unheard. The Ministry of Defence plans to deploy 500 further British troops to the killing fields
of Helmand and seems to have signed up fully to America's Coin approach, even publishing the first UK counter-insurgency manual in eight years.

One retired British colonel who served in Iraq and Afghanistan is aghast. "It doesn't matter whether you send 500 troops or 5,000 troops," he says. "What is the point when there is no endgame and no exit strategy?"

Coin has become an oversimplified and superficial doctrine for fighting foreign battles, one that makes war a more attractive, easy and likely option, but is also enormously burdensome in troops and money. Nonetheless, such doctrines are seductive: Bill Clinton had liberal interventionism in Kosovo, George Bush fell back on neoconservatism over Iraq, and Barack Obama is on the verge of opting for Coin in Afghanistan.

Coin will not provide a silver - or even a lead - bullet in Afghanistan. And, even if its critics such as Gentile, Ward and Plesch are wrong, the counter-insurgency tactics of Petraeus and McChrystal in Kabul and Kandahar will do little to win hearts and minds here at home, or in the disaffected and alienated Muslim communities across Europe. It is this strategic truth that the Coinistas avoid at their peril.

John Mackinlay's "The Insurgent Archipelago" is published by C Hurst & Co (£20)
Mehdi Hasan is senior editor (politics) at the New Statesman
. Read his blog Dissident Voice

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

This article first appeared in the 30 November 2009 issue of the New Statesman, Left Hanging

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?