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Empowerment: The new political territory

Gordon Brown talks of placing power in the hands of people themselves, but a splurge of Whitehall in

In the 20th century the key political battleground in British politics was the relationship between the state and the citizen. Labour traditionally favoured the collective, the Conservatives the individual. New Labour realigned those ancient nostrums by becoming as comfortable with the notion of aspiration as redistribution. This change allowed us to claim victory in the battle of ideas over the past decade. The challenges we are now witnessing in the 21st century call for further change. Victory in the battle of ideas over the next decade will go to the party that can facilitate a paradigm shift in the relationship between state and citizen.

Interestingly, all three main political parties are toying with the notion of moving power from one to the other. Nick Clegg wants a "People's NHS" to realign the Liberal Democrats as less big-state and more individual-citizen, but many in his party oppose such talk. David Cameron talks of "shifting power from the state" to charities and communities, but they simply lack the capacity to deal with the modern challenges brought by a globalised economy and a diversified society. And while it is welcome that Gordon Brown embraces "a new politics that places power . . . in the hands of people themselves", a splurge of Whitehall initiatives seems to point in the opposite direction. This half-in, half-out approach won't work. Uncertainty has to make way for clarity.

Some of new Labour's most senior and thoughtful leaders are arguing the case for change and suggesting how it might be done. They are calling for a new marriage between an active state and active citizens, with each empowering the other. There are three principal reasons - at least from the point of view of progressive politics - for leading this change.

The case for change

The first is born of failure: the growing gap between politics and the public. In the UK, membership of political parties has halved in the past 25 years. But our country is far from alone in witnessing record levels of cynicism and disengagement. Average turnout at national elections across the OECD has fallen by 10 per cent in just 20 years. And yet, in many respects, public involvement in civil society is increasing, not diminishing. Half of all Britons volunteer regularly. Over one-third of people who don't vote at general elections do participate in a charity, community group or campaign. Alternative forms of political activity - whether boycotting goods or lobbying MPs - is rising, not falling. And while 61 per cent of people do not believe they can influence decisions about their local area, 63 per cent say they are prepared to do so. My conclusion is that the public is not so much turned off by politics, as by the way politics is done. Or, for that matter, the way public services are run. Public disengagement is a symptom of disempowerment. Too often we shut people out when we should be letting them in.

Our political system was framed in an era of elitism, when rulers ruled and the ruled were grateful

Second, such a change is in keeping with the times. In a world of massive insecurity and constant change, people are looking for greater control in their lives. At the same time, public expectations have rightly moved up a gear. People nowadays are more informed and inquiring. Ordinary consumers are getting a taste for greater power and more say. The problem, a decade after Bill Clinton declared an end to the era of big government, is that while people may have become more empowered as consumers, they do not yet feel empowered as citizens. Ours remains a "them and us" political system. It was framed in an era of elitism. Rulers ruled - and the ruled were grateful. Economic advance and universal education have swept aside both deference and ignorance. Now the internet redistributes knowledge and offers us the chance of being active parti cipants rather than passive bystanders. These changes open up the potential for a more participatory form of democracy.

Third, equity demands that it should be so. Despite rises in living standards and falls in poverty in the past decade, a deep inequality gap still scars our country. We all pay the price: the wasted potential of the alienated young; the taxpayers who pay the price of social failure; and the decent, hard-working families that live in fear of crime. Over many decades social mobility slowed down when it ought to have been speeding up. Action by this government has halted that process. The glass ceiling has been raised, but it has not yet been broken.

I believe it can only be done by shifting the focus beyond the welfare-state solution of retrospectively correcting the symptoms of inequality - such as low wages and family poverty - towards an approach that proactively deals with the roots of disadvantage before they become entrenched. By cutting taxes for the low-paid. By giving more people a real stake in society. By enabling people, regardless of wealth or status, to take greater control over their lives. By recognising that it is power that needs to be more fairly shared in our society. The sense of hopelessness that clouds the poorest communities in our country grows out of disempowerment. Of course beating crime, creating jobs and rebuilding estates can help. But I believe that this cloud of despondency can only be dispelled through a modern, participatory politics that allows both local communities and individual citizens to share more evenly and directly in power.

These fundamental shifts in the structure and culture of 21st-century Britain call for new Labour to resolve its ambivalence about the modern roles of the state and the citizen. From the mid-19th century the state took on more responsibilities. In large part this accretion of power was necessary and it was right. State action was needed to guarantee clean water and safe streets. The expansion of a market economy relied on legal rights and clear rules which, again, only the state could uphold. And in the creation of the welfare state - with its jewel in the crown, the National Health Service - the state offered equity and security as an antidote to the deprivation and injustice of an era of economic upheaval and total war in a way that charitable endeavour and employer philanthropy could never hope to match.

And yet, by the last quarter of the 20th century, it was becoming clear that too much state could be as bad as too little. When Labour got on the wrong side of that argument, we lost. The Berlin Wall was about to tumble and with it the ideological perversity of state communism. In econo mic policy, western governments had demonstrated a poor record of picking winners, but losers had developed a consistent habit of picking governments. State regulation had come to stifle market innovation. So, in the Thatcherite reforms of the 1980s - most notably the privatisation programme - power was moved from the state to the market. And in the new Labour reforms of this century - most notably the creation of institutions such as an independent Bank of England, NHS foundation hospitals, city academies and now trust schools - power has been moved again from the state to new service providers. What neither Thatcherism nor Blair ism has successfully done is moved power from the state to the individual or to the community.

Labour's choice

For the past decade new Labour has been caught between two philosophical traditions: a Fabian social-democratic model, where progress is secured through the state exercising power on behalf of citizens, and a mutual model, where it is secured not through the state controlling, but the state empowering communities and citizens to realise their own advance. Of course these traditions share common ends - the eradication of poverty, for example - but they prioritise different means: the dispensing of state benefits on the one side and the opening up of educational opportunities on the other. The twin changes we are now witnessing - globalised economies and assertive citizens - call for this decades-long divide between statists and mutualists to be resolved decisively in favour of the latter.

Too often, governments - including new Lab our - have fallen for the fallacy that once the commanding heights of the state have been seized through periodic elections, progressive change automatically follows. In truth this works neither for citizens nor for governments. People are left confused and disempowered. Governments end up nationalising responsibility when things go wrong without necessarily having the levers to put them right. Progress in the future depends on sharing responsibility with citizens so that they become insiders, not outsiders.

None of this suggests the state has no role. Quite the reverse. Economic uncertainty and mass migration, global warming and global terror make the case for an active state. People want to know they are not alone. But they also want to control their own destiny. So the modern state has to step forward where citizens individually cannot act - providing collective security and opportunity - but step back where citizens in dividually can - exercising personal choice and responsibility.

Cameron and his Conservative Party have drawn the wrong conclusion from the modern world. It is not an active state or active citizens that are needed to meet the challenges of the modern world. It is both. It is only the state that can equalise opportunities throughout life and empower its citizens. Equally, only citizens can seize those opportunities and realise their own aspirations to progress. The right wrongly rejects the state's role. What is needed is a different sort of state: one that empowers, not controls.

A future agenda

This narrative should run through government policy like through a stick of rock. A new assumption should guide the whole government's policy: power should be located at the lowest possible level consistent with the wider public good. That would involve Whitehall being scaled back. Local police and health services would be made directly accountable to local people through the ballot box. Local councils would be freed from much central government control as their system of financing moved from national taxes to local ones, with local communities having the right through referenda to determine locally decided tax rates. As in the United States, Canada, Australia and many other countries, locally elected bodies would be able to borrow either from the markets or through local bond issues. The aim would be to get local services better attuned to the needs of local communities.

The right wrongly rejects the state’s role. What is needed is a different sort of state: one that empowers, not controls

Where local services are failing, communities would have the legal right to have them replaced. Community courts and restorative justice should spearhead a reinvigorated effort to deter and prevent antisocial behaviour. A new form of public ownership - community-run mutual organi sations - could take over the running of local services such as children's centres, estates and parks. And, as individual citizens, parents would get new powers to choose schools and NHS patients to choose treatments. People in old age, those with a long-term condition, families with disabled children or people in training could choose their own publicly funded budgets instead of conventionally provided services.

Progressive politics cannot stand still. It is the Conservatives' job to conserve. Labour must always be a party of change. Our own recent history tells us this is so. After we lost the 1992 election, many people thought they would never see a Labour government again. What changed was that we did. Building on the efforts of Neil Kinnock and John Smith, Tony Blair's courage in transforming his party was a first step to us winning power. We should never forget that lesson. One of new Labour's key strengths has been its preparedness to face future challenges rather than taking comfort in past achievements. Our willingness to change has forced even our most strident opponents into contemplating changes they once thought abhorrent. Now change beckons once again.

In the past decade we have made good progress as a nation in reducing poverty, improving services and creating jobs. A decade ago, those were the principal challenges we as a country faced. Today there is, of course, more to do on each of those fronts, but in addition there are new challenges to meet. In this new world the old top-down approach to governance will no longer work. It is not just that the public has reached the limits of what it will pay in taxes, although it has. People in low- and middle-income families are under pressure and feeling the pinch, so, inevitably, public spending growth in the period ahead will be lower than in the period just gone. But it is also that, just as the global credit crunch and its consequences have exposed the limits of untrammelled free markets, so the entrenched problems of social exclusion in so many communities and unfulfilled potential among so many of our citizens expose the limits of centralised state action.

What made for progress in the past will not secure progress in the future. What is now needed is an approach in which doing things with people rather than to them becomes the key to unlocking progress, whether that is improving health, fighting crime, regenerating neighbourhoods or protecting the environment.

Just as at other points in our history an old orthodoxy has been swept away by a new one, so I believe this is an idea whose time has come. In 1945, the new idea was for power to be vested in the central state and its policy expression was nationalisation. In 1979, the new idea was for power to be vested in the free market and its policy expression was privatisation. In 1997, the new idea was for power to be vested in reformed institutions and its policy expression was modernisation. Now the new idea is to vest power in the citizen and the community and to make its policy expression empowerment.

This is the new political territory. Neither the right nor the left has yet, in truth, fully come to terms with it. Whoever does so first will, I believe, win both ideologically and electorally. It really is time to make a reality of Nye Bevan's famous dictum that the purpose of getting power is to give it away.

Alan Milburn is MP for Darlington and honorary president of Progress. This is an extract from "Beyond Whitehall: a New Vision for a Progressive State", published on 18 September by Progress. Available free of charge from: http://www.progressonline.org.uk

This article first appeared in the 22 September 2008 issue of the New Statesman, The battle for Labour: How to save the party

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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 22 September 2008 issue of the New Statesman, The battle for Labour: How to save the party