A burnt out first floor window shows fire damage in the house where five people died. Photograph: Getty Images
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Letter from Harlow: Reaching for utopia

After the war, Harlow was supposed to offer east Londoners the chance of a fresh start and a stab at the good life. This month, it became the place where a suspicious fire killed six members of a Muslim family.

1.
Very early on the morning of Monday 15 October, residents on the Barn Mead estate in Harlow, Essex, were woken by screams and by the sound of a man in distress. One woman looked through the window and saw that the three bedroom, end-of-terrace house opposite was on fire and a man whom she recognised as Abdul Shakoor, who is 45 and a hospital doctor, was being restrained by neighbours as he struggled to get back inside the burning building where he lived with his wife and their five children. “My children are in there,” he was shouting, “my children.”

By the time emergency support vehicles arrived, the house was filled with thick, acrid smoke and fiercely ablaze. Dr Shakoor’s wife, Sabah Usmani, who was also a doctor, and three of their children were declared dead at the scene; two other children, both severely burned, were pulled from the house alive and taken to the local Princess Alexandra Hospital, where their father worked as an endocrinologist.

Muneeb, who was nine, died later that day; his younger sister, Maheen, at the age of three the baby of the family, was transferred to the burns unit at Broomfield Hospital in Chelmsford, the county town of Essex.

Dr Shakoor, who is suffering from profound trauma and smoke inhalation, was also moved to Broomfield: his wish was to be as close as possible to his daughter as doctors fought to keep her alive. On the evening of Thursday 18 October, it was announced that Maheen, too, had died. The tragedy was complete.

Essex Police have said that the fire, which started in the downstairs lounge, spread quickly and is “being treated as suspicious”, even though no evidence has been found to suggest that an accelerant was used. Shortly after the fire started at the house that Monday morning, a Ford Focus belonging to another local resident was also set alight in the street nearby. “By the time emergency services arrived the fire [at the house] was intense which implies it had been burning for a while,” Chief Inspector Justin Smith said.

“The car wasn’t burnt out, however. We now need to understand the timings, and how long the car had been alight compared to how long the house had been alight – that is a key point.”

There have been previous incidents of arson on the Barn Mead estate and the police are describing it as “more than a coincidence” that both the house and the car should have been set alight around the same time, if not simultaneously, and within close proximity. Were the Shakoors, who were devout Muslims and of Pakistani origin, the victims of a racist attack? Or was the previous occupant of the house, which the Shakoors had been renting for less than a year, the intended victim as has been suggested? (A friend of the Shakoors, a fellow Muslim named Safia Anwar, told me that the family, who for a period lived in Saudi Arabia, had been looking for a suitable property to buy in the town. They were settled in Harlow, their children attended the local Abbotsweld Primary School, and they wanted to stay on, she said.)

2.
I know the Barn Mead area well. My paternal grandfather used to live on the estate in a modest flat that overlooked a comprehensive school. “All day they’re coming in and out, in and out,” he used to complain of the pupils. From the outside, the flat seemed to be very much as it was when I used to visit him, and it’s just a few hundred yards from where the Shakoors lived. Close to the house they rented, on some local fields, are three recreational football pitches where I sometimes used to play on Sunday mornings as a young boy.

My grandfather moved to Harlow from Forest Gate, on the edges of Epping Forest, a strange, shadowy nowhere zone where the East End thins out and merges into Essex. He was retired, his wife had died, and he was suffering from tinnitus and wanted to be closer to his only child, my father, who, like so many aspirational east Londoners, had moved as a young man to the Essex new town, where land was plentiful and new family houses were abundant and available for rent or purchase. My grandfather stayed on in Harlow long after we left the town in the early Eighties.

Many of those who came to live in Harlow in the years after the war were in one way or another in flight from history – from the inner city, from the cramped Victorian terraced streets of their childhoods, from the bomb sites and ruined buildings – and Harlow offered them a new start, a new life in a centrally planned, socially engineered, semi-rural environment. One of the consequences of growing up in a new town as I did – always so much emphasis on novelty, on newness, on the here and now – was that you felt part of a kind of utopian social-democratic experiment. The state was providing for you and those around you, nearly all of whom were of similar background. It was as if the state had a vision of what the postwar good life should be and somewhere we all fitted into it.

“The town attracted progressives, community-minded people,” Ron Bill, a local historian and Labour Party activist, told me over tea and biscuits when I visited him at home in Harlow this past week. “Frederick Gibberd [the consultant architect planner for the Harlow development] was an example of such a person. That first wave of people who came to the town in the Fifties and Sixties – many of them socialists and communists – they wanted to build something. The trouble is there wasn’t a second wave equal to the first. And their children moved away, as children do.”

Harlow doesn’t, today, feel like the optimistic town it did when I was growing up there in the Seventies, when it had such an excellent infrastructure of new houses, roads, cycle tracks, playing fields and children’s play schemes. Back then, it had an Olympic-sized swimming pool (since closed and demolished), an exceptionally well-regarded multipurpose sports centre (since sold, flattened and replaced with houses), a dry-ski slope (long gone), a skating rink (now abandoned), a velodrome (gone) and an expansive, landscaped town park through which a river flowed (now sadly neglected).

The Labour Party was powerful in the town and for many years controlled the council. The local playhouse was ambitious and sophisticated in the choice of films and plays it chose to show and put on. The large central library was superbly stocked with books and magazines, and it was there that I used to read the New Statesman and the Spectator.

It was a provincial boyhood and I yearned for greater adventure and excitement, but in retrospect – and it took me a long time to understand and accept this – I was fortunate to have lived in Harlow when I did. It offered me everything I needed, apart perhaps from a rigorous academic education; there was no local grammar school and by the mid-to-late Seventies most of the town’s eight comprehensive schools were, in ambition and attainment, becoming more like what Andrew Adonis now calls “secondary modern comprehensives”.

“Yes, some of the failures of Harlow are to do with the schools,” Ron Bill told me. “The larger problem was that the original New Towns Act of 1946 stipulated that the new town could keep its assets – from the industrial estate and the commercial side of the town centre – but this was reversed and the assets of the town went to private business and the Treasury.

“The whole aim of the new town was to give people a better life, to build family homes surrounded by green spaces. We wanted to satisfy the demands and aspirations of people – for a town swimming pool, say, or for a meals-on wheels service. But the swimming pool failed because it wasn’t being maintained properly. The sports centre was sold. There wasn’t the money to mend the ski slope. The rose beds in the town park . . . there wasn’t the funds for maintenance.

“If the industrial estate had funded the town it could have been different. But it was still lovely to be in Harlow; the corporation and council achieved a great deal. I suppose we tried for utopia but didn’t quite reach it.”

When I lived in Harlow, it felt resolutely mono-ethnic and socially narrow; there were no black boys in my year at school, and very few of Hong Kong Chinese or Indian or Pakistani origin. There were, however, several boys at the school who became members of the Inter City Firm, or ICF, the feared, ruthless and racist firm of hardcore West Ham hooligans. The National Front were active and were recruiting in the town for a while, and Ron recalls marching against them. Ultimately they were repulsed.

3.
When I spoke last week to Safia Anwar, who lives close to Barn Mead on the Woodcroft estate in Harlow, about her friends the Shakoors, she said they had been brought together by their children and shared Muslim faith. Like Sabah Usmani, Safia wears the hijab. “I saw the family every day – every day – because our children were at the same school,” she told me, in hesitant English. “They were good people and they had no trouble since they came to the town. They never spoke about any problems. We ourselves have had no problem with racism. Perhaps a little bit at the school, some of the children say things to my children . . . but this [the fire] cannot be racism.”

She paused and looked at me sadly. “My children have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Woodcroft, Willowfield, Old Orchard, Five Acres: the names of what were once council or corporation estates surrounding Barn Mead are redolent of a pastoral idyll, or at least of the rural lands that were obliterated when the new town came. The actual estates, transformed by Margaret Thatcher’s right-to-buy scheme, are perhaps shabbier than I remember and many of the houses need painting and care, but the streets are clean and when I visited council workers in yellow jackets were out sweeping the roads and collecting litter. In Barn Mead a mobile police station had been set up adjacent to the Shakoors’ fire-blackened house and search officers from across the county were fastidiously going about their business, knocking on doors, looking in bins and black rubbish sacks.

“We knew from day one that this could be a lengthy investigation and at this point there are no definitive answers or explanations,” said Chief Inspector Smith. “However, we are putting a huge amount of resources into this investigation. Never in my 24 years of service have we seen this level of resources – it is unprecedented.”

4.
A house fire and suspicions of a racist attack on the estate where my grandfather once lived were what brought me back to Harlow and all the memories it stirs, back to Ron Bill’s nearlyutopia. The morning of my return I parked my car outside my grandfather’s old flat and walked around streets that, even after all these years of absence, seemed so familiar. The school he used to complain about has since been renamed and relocated, and its former classrooms and offices are desolate, fenced in and boarded up. (The school was recently featured in the Channel 4 reality series Educating Essex, the title suggesting that this large and diverse county, stretching from the rural Suffolk borderlands that Constable painted to the edges of London’s East End, is a monoculture.) The local pub, the Archers Dart at Coppice Hatch, where my grandfather bought an occasional pint, was semi-derelict, its doors and windows also boarded up. These unused buildings together with the presence of so many police on the streets gave Barn Mead the feel of an estate under siege.

5.
I eventually left later that morning, feeling pretty despondent and desperately hoping that little Maheen would pull through. The next evening, I heard that she had not.

The funerals of Dr Usmani and her five children were held on Wednesday 24 October at the Harlow Islamic Centre, by which time Essex Police were no closer to solving the mystery of the house fire.

“My children,” Safia Anwar had said, “have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Jason Cowley is editor of the New Statesman. He has been the editor of Granta, a senior editor at the Observer and a staff writer at the Times.

This article first appeared in the 29 October 2012 issue of the New Statesman, Something Rotten

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?