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Metropolis now

Before the financial crisis, New York and London walked hand in hand as “the two greatest cities in

It is a warm May morning in London and Boris Johnson has just wandered into his mayoral press conference. He is surrounded by press officers, who appear to double as nannies. They lead him around and record his interviews with journalists, wary, perhaps, of his tendency to make gaffes. We are in the middle of a global recession, and Johnson is launching his economic development strategy for London. But despite the seriousness of the subject, there is a sense that the daily performance of being mayor - of shuttling around the city, opening things, riding trains and pontificating - is one long, wonderfully elaborate joke. A joke, crucially, that Johnson is in control of; the myth that he is a bumbling fool brilliantly disguises his political ambition. He plays the hapless clown, and has audiences following his every word, waiting for the punchline. As he takes to the stage, the crowd starts to laugh before he has spoken, like an audience at a comedy gig, expecting hilarity.

A few weeks later, in New York City, Michael Bloomberg walks into the room. We are in the basement of the Tweed Courthouse on Broadway - now home to the city's department of education. Mayor Bloomberg is flanked by security men and, as he enters, the band of noisy New York journalists falls silent, like an obedient class of schoolchildren. Bloomberg, the richest man in New York, with a personal fortune valued at $17.5bn, has a hushing effect. But he dismisses his intimidating wealth by saying: "I think the real answer is that if you have a good message, people are going to be responsive . . . It's not money, it's whether or not you have something of substance to say."

In London, Mayor Johnson's message begins, as always, with a joke: "I came here, of course, on my bicycle. I do that because unless you're completely insane, or devious, or a Liberal Democrat, there's no way you can fiddle your bike expenses." The audience erupts. He then extols the virtues of London's diversity - the prowess displayed in medical science, law and the creative industries. But it is a few days after the MPs' expenses scandal broke, and that's all anyone wants to talk about.

“I never claimed for a bath plug," Johnson says. "I never claimed for a moat." No longer an MP, he is able to distance himself from the news coming out of Westminster. "I find myself rather amazed by the whole thing."

Johnson stood down as the Conservative MP for Henley after he won the mayoral contest against Ken Livingstone in May 2008. The decision to run for mayor was, he said at the time, simple: "the opportunity is too great and the prize too wonderful to miss . . . the chance to represent London and speak for Londoners". Livingstone suggests that his motivations were more complex. "For Boris, this is just eight years he's got to get through without anything going wrong . . . It's always been about Boris: he's got his agenda, which is to be back in parliament in the middle of the next decade and succeed Cameron as prime minister."

At their respective press conferences, the two mayors fielded questions on an array of topics, but both were principally concerned with their city's economy. The recession, and the near-ruin of the global financial system, has clearly had a huge impact on London and New York. Wall Street and the Square Mile were the epicentres of the earthquake. Only months earlier, the two cities had seemed invincible. In May 2008, Bloomberg wrote: "We are - and here, please forgive the modesty of a New Yorker - the two greatest cities in the world . . . no two cities combine such staggeringly rich and diverse economic and cultural opportunities as New York and London."

Since the collapse of Lehman Brothers in September last year, the mayors have been forced to become defenders of their cities, fighting to restore their global pre-eminence. The question is how. Finance made London and New York great, but reliance on the banks also made them vulnerable when the system defaulted. In both cities, politics and money have always intertwined - a closeness that is played out in their geography. New York's City Hall, a grand, neoclassical building, is a short walk up Broadway from Wall Street. In London, the glassy barrel of City Hall squats on the south bank of the Thames, across the river from London's financial centre. From his office on the sixth floor, the mayor can see the gleaming towers of commerce - the old NatWest building, the Broadgate Tower, the Gherkin.

It isn't the first time that London and New York have been the settings for economic calamity. The Great Depression, provoked by the New York stock market crash in October 1929, led to soaring levels of unemployment in both cities (reaching 13.5 per cent in London by the early 1930s and 50 per cent in Harlem in 1932). In the 1970s, after years of strikes and civil unrest, New York was close to being bankrupt. A million people left the city to live in the gentler suburbs. London plunged in parallel, with unemployment reaching 400,000 in 1976. Mounds of rubbish filled the streets of both cities as refuse collectors went on strike.

Then, during the 1980s, the Thatcher-Reagan era of free-market fundamentalism, the cities changed again. According to the British historian Dominic Sandbrook, "You had the simultaneous growth of extreme wealth and extreme poverty", exemplified by "the grotesque contrast of Trump Tower going up in one part of Manhattan and people living out of cardboard boxes just a couple of streets away". Nowhere was this contrast more apparent, Sandbrook says, than in London and New York.

Tony Blair's government, elected in May 1997, wooed the City with even more fervour than the Thatcherites. London and New York grew exponentially, mostly as a result of the burgeoning success of their financial services. From 1999 to 2009, New York's financial services industry was responsible for roughly a quarter of the $1trn output of the regional economy, and generated 20 per cent of state income-tax revenues. Meanwhile, London's financial services grew to employ half a million people in the capital alone, contributing 11 per cent of the UK's total income tax. Financial institutions multiplied - the number of hedge funds, concentrated in London and New York, grew from 610 in 1990 to 9,462 in 2006.

By early 2007, the two cities had transformed into hubs of intense wealth, home to the growing ranks of multimillionaire financiers. Property prices had become grotesquely inflated: in London, luxury properties were selling at £18,000 a square metre; in New York, at £11,000 a square metre. The cities had responded relatively well to the terrorist attacks of 11 September 2001 and 7 July 2005. Their rivalry flourished, inflamed by the competition to host the 2012 Olympics. In March 2007, New York magazine depicted London and New York as figures wearing boxing gloves, battling it out for the global crown. Now, after the debilitating events of the past year, the terms of the battle are different. It will be up to the mayors to lead their cities in the race to recovery.

On 15 September 2008, the day that Lehman Brothers collapsed, Michael Bloomberg had been in office for six and a half years; Boris Johnson for just over four months. Bloomberg should have been coming to the end of his mayoral reign this year, but in October 2008 he amended New York's term limits law to allow him to run for a third term. The ballot is on 3 November.

The amendment was an audacious act of manoeuvring and Bloomberg is keen to ensure its success. He has spent $36m of his own money on his campaign so far this year. Asked in May if he felt his wealth in effect killed off the opposition, he said: "I don't know why it drowns out any honest debate . . . I'm spending my own money, so I'm not beholden to anybody." He has a point. Part of Bloomberg's appeal is the sense that he is self-made, able to pay himself a nominal $1 a year for the honour of doing the mayor's job. It also means he can distance himself from lobbyists and interest groups, focusing more on the pragmatic elements of the mayor's job than the political. Ken Livingstone, mayor of London from 2000 to 2008, worked closely with Bloomberg for six years. "He's only interested in what works. He's not an ideologist at all," he told me.

Johnson and Bloomberg first met as mayors on 9 May 2008 in London, a few days after Johnson had taken over at City Hall. Bloomberg presented Johnson with a Tiffany box containing a crystal apple; Johnson gave Bloomberg a shirt with the Tube map printed on it. Their styles are as different as their backgrounds. Johnson, although born in New York in 1964, with Turkish and German ancestry, comes across as aristocratically British, having been educated at Eton and Oxford. Bloomberg's beginnings were more modest. Born in 1942, he grew up in a Boston suburb in a middle-class Jewish family. He won a place to study electrical engineering at Johns Hopkins University, and paid his way by working as a parking attendant during the summers. In 1981, forced out of his bank job at Salomon Brothers after a merger, he started a financial information service, Bloomberg LP. He was "too pig-headed to go look" for a job, he has said, and thought it would be "fun to be an entrepreneur . . . I have an ego that tells me anything is possible if you work hard." The company now operates in 161 countries, has 275,000 subscribers and employs 10,000 people worldwide.

Where Bloomberg made his name and fortune from shrewd business, Johnson lasted a week at a management consultancy firm, LEK Consulting, before becoming a journalist at the Times, where he was sacked within a year for falsifying a quotation. After retreating to a local paper in Wolverhampton, he moved to the Daily Telegraph in 1987 and in 1999 became editor of the Spectator - a role he combined, sometimes erratically, with being an MP. Now, he writes a weekly column for the Telegraph, for which he is paid £250,000 a year (an amount he has described as "chicken feed"). Unlike Bloomberg, he has little chance of running a self-funded campaign for re-election; his original campaign was supported by hedge-fund managers and property developers.

For all their differences, the mayors are similarly upbeat about their recession-hit cities. In May, Bloomberg insisted that New York is “doing much better than people understand"; while Johnson said that parts of London's economy "are in credit-crunch denial". Both have engaged in "hamburger" economics - Johnson suggesting that, because of the weak pound, "hamburgers are cheaper in London than almost anywhere else on earth", and Bloomberg observing that people are ordering steaks again after slipping to burgers during the crunch. Both men try hard to sound as if they are in tune with the daily life of their cities. But they are also trying to sell. The mayors have to perform like political travel agents - relentlessly marketing the importance and vibrancy of the places they represent.

They also have to keep a sharp eye on each other. "We always say we're the financial capital of the world. London says that, too," Bloomberg said. "What we've got to do is worry about ourselves."

Johnson simply insisted: "We'll win!" But he was also happy to disparage his rival city: "I'm not going to draw invidious comparisons with New York's crime rate, but I merely point out that you have far less chance of being murdered on the streets of London than you do in New York." What both cities fear is a repeat of what happened in the 1970s: the mass exodus of a high-earning population, forced out by unemployment, leaving the cities to fester amid growing crime and poverty.

When it comes to policy, however, the cities appear to be going in very different directions. Two months after his economic strategy launch, Johnson was performing again, at the Royal Opera House in Covent Garden. He had gathered hundreds of business people and was
regaling them with jokes. But he was also sending out a message - namely, that a new EU draft directive on Alternative Investment Fund Management would gravely damage the private equity and hedge-fund industries in London (the directive seeks to limit the level of debt that these funds and firms can take on).

To those present, it was something of a revelation to hear a political leader explicitly defend firms that had become emblematic of an age of dangerous excess. Bob Wigley, former chairman of Merrill Lynch in Europe, said: "I think this is, in my memory, the first time the Mayor of London has taken a real, proactive interest in City affairs and the promotion of the City. That's a very important step."

Johnson made his allegiance to the City clear from the start of his term. As Anthony Browne, Johnson's director of policy, told me: "Boris doesn't need any prompting to defend financial services. He's not doing this out of any political convenience. In fact, if anything, it's politically inconvenient at this time, defending bankers."

A week after Lehman's collapsed, Johnson wrote a newspaper column defending the banks. The mayor acknowledged that some had been guilty of greed, but accused those critical of bankers as being propagators of "neo-socialist claptrap". He mentioned the "edge" London had gained over New York because of limited regulation. When I suggested to him that stricter regulation might be a necessary response to the crisis, he looked bemused. "You're saying regulation might be a good thing, and high tax might be a good thing and all the rest of it. You've got to be very, very careful that you don't try to solve the last problem by exacerbating or creating the next one. And that's very often what regulation does."

In January this year, in an interview with the Wall Street Journal, Johnson conceded that he had approached Bloomberg with an idea to form "an alliance against ill-thought [out] regulation". He was turned down. Yet it hasn't dampened his enthusiasm. Taxation and regulation may be under the control of central government, but Johnson sees it as his duty to lobby for London and to challenge government.

“You can jolly well make a fuss about it," he told me. "Nobody else is. Maybe the New Statesman can! Come on, Staggers! Come on, stick up for the people, for energy and enterprise!" And, quickly, we are joking again.

In New York, a more nuanced message emerged. I visited the deputy mayor, Robert Lieber, who is in charge of the city's economic development. "We're looking at other industries," he said. Straight-talking and energetic (he claimed never to use an alarm clock), Lieber worked at Lehman Brothers ("it was a great industry, a great firm; it's a tragedy what happened") before joining Bloomberg's team in 2007. He said he was determined to reduce New York's dependency on the financial sector: "I think the great thing about New York is that, while we're considered . . . a financial centre in the world, we do in fact have a diversified economy already."

Like Johnson, Lieber talked about tourism, fashion, medicine and academia - the city's various talents. But then he mentioned catching "the green bug". He estimates that through regulation and investment in green industries - construction, engineering, architecture - as many as 20,000 jobs will be created over the next few years. It is all part of a plan to make New York more liveable. “Crime rates are down to all-time low levels, [and] the streets are cleaner than they've ever been . . . We're making huge capital investments to improve schools so that people can choose to raise their families here, as opposed to moving out of the city."

Johnson, by contrast, is behind on the matter of greening his city. Browne admitted to me that "other cities have been making waves on this before us". As mayor, Johnson has launched tree-planting and cycling initiatives and, most recently, an initiative to boost local energy schemes through London boroughs. On 14 October, he said that he wanted "to position London as the world's leading low-carbon economy". Yet, before running for office, he was openly sceptical of the dangers of climate change. In 2006, he poked fun at the "growing world creed of global warming" - a position
he had to contradict in a speech to the Environment Agency in November 2008, when he described himself as "someone who used to write caustic articles about the religion of climate change". As Jenny Jones, a London Assembly member for the Green Party, said: "Climate change is a bit of a new idea for this mayor - he hasn't yet grasped how urgent it is."

Jones describes Johnson's record on green issues in office as "utterly shabby . . . I think he has rolled back the green agenda in London by probably a decade in some of the decisions that he's made." She is most concerned about transport - such as the decision to abandon the congestion charge expansion and the recent announcement that Tube and rail fares would rise again. But she also points out that he has lost ground on green industries. "Johnson took over an administration that was actually doing quite a lot. We were a world leader on adaptation and mitigation of climate change. He's just not picked up the reins on this. He doesn't get it."

Livingstone agrees, describing Johnson's lax approach to the environment as a "catastrophic mistake for our long-term economic interests". The former mayor worked with Bloomberg to set up the C40, a mechanism that brought together the leaders of the world's largest cities to tackle climate change. The first meeting took place in London in 2005, followed by another in New York in 2007. As the driving force behind the initiative, London held the chair. But that changed when Johnson became mayor. Of the 40 cities involved, only two (New York and London) were prepared to vote for him - the others had "read his writings", Livingstone explained to me. Johnson was quickly demoted to "honorary vice-chair", with the mayor of Toronto taking over the leadership. It was a terrible loss, Livingstone believes, both of status and of London's competitive advantage.

Johnson now says his administration is making progress on the environment. One plan is to create a "green enterprise district" in the Thames Gateway. But there seem to be inconsistencies. A concurrent idea is to build a new airport in the Thames Estuary. I asked his policy director how comfortably the green enterprise district would sit beside a new airport, imagining meetings on low-carbon technologies as planes power overhead (killing millions of birds in the process, campaigners claim). Browne scratched his stomach. "It's accepting reality that aviation is an environmental detriment, but it's almost certainly going to carry on increasing," he said. "We'd much prefer that it doesn't carry on increasing inside a west London suburb where lots of people live." A west London suburb - covering Richmond, Twickenham, Hammersmith and Fulham on the way to Heathrow - where a lot of Johnson's most vocal Tory voters live.

Exactly a year after the collapse of Lehman Brothers, Bloomberg and Johnson met again in New York. They gave a talk at Columbia University: "New York and London: Heading Back to the Top". There was the usual hilarity - Bloomberg gave Johnson a revenge gift of a hat, umbrella and tie
decorated with the New York subway map. Johnson taunted Bloomberg yet again about losing the Olympics. But he also took the opportunity to warn once more of the dangers of over-regulation, "however great our rage at the bankers may be". The purpose of the meeting was to present a united front ("We are in this together," said Bloomberg) but, in reality, the cities seem to be pulling apart.

One consequence of the financial crisis is the opportunity it offered London and New York to reinvent themselves. Their leaders could seek to re-create the booming, finance-dependent cities of the past decade, or imagine a new kind of city shaped by different priorities. Johnson has publicly made his choice, taking his strongest stand so far (apart from his war on bendy buses) in defence of hedge funds. His administration attempts to absolve the industry.

“It had nothing to do with them," Browne said, even though, for many, the collapse of three Paribas funds in August 2007 and Bear Stearns in March 2008 signalled the start of the financial crisis. In his Tory party conference speech on 5 October, Johnson, ever loyal, once again attacked the "banker bashers" who sought to undermine the City of London.

Bloomberg and Lieber seem to be on a more progressive path. After all, as Lieber said, they want to diversify so they are not as dependent on financial services. They believe that their city can grow in a new way, and it can remain a world leader through reinvention. Johnson, on the other hand, would prefer London to revert to its former so-called glory - a city with less regulation and a new airport. Given the past, it seems a strange kind of future.

Sophie Elmhirst is a contributing writer at the New Statesman

Sophie Elmhirst is features editor of the New Statesman

This article first appeared in the 26 October 2009 issue of the New Statesman, New York / London

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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 26 October 2009 issue of the New Statesman, New York / London