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Play it again, Salmond

Time and again, Scotland’s First Minister has taken on the naysayers and won. He is a keen gambler b

Late on the evening of 6 May, Alex Salmond took to the stage of a nightclub in Edinburgh's New Town and performed the kind of routine of which a professional stand-up comic would have been proud. A few hours earlier he had learned that he'd been re-elected First Minister of Scotland. That in itself was cause aplenty for celebration. But Salmond's and the crowd's unconfined jubilation was enhanced because the Scottish National Party (SNP) had not only gained the most MSPs, it now had an overall majority. Under the byzantine electoral system promoted by the Labour Party this was never supposed to happen. Now, amazingly, it had. In a parliament of 129 MSPs, the Nationalists had 69. Salmond's joy was overflowing.

Salmond was introduced by Angus Robertson, the SNP's leader at Westminster. As he drove that morning from Glasgow to Edinburgh across the Central Belt, it had occurred to Robertson that every constituency he was passing through was now held by the Nationalists. But, as ever, Salmond was able to trump his campaign director. Affecting a broad Scottish accent, which comes and goes depending on who he is talking to, Salmond said that a similar thought had occurred to him as he flew south from his own count in Aberdeen. "I was thinking that a' the seats I flew o'er in ma helicopter were yellow."

He had also realised, he added, that every seat in which Ed Miliband had campaigned had been lost by Labour. To raucous cheering, he said: "If you chart every stop on the trail of doom of Ed Miliband's individual constituency visits to inspire Labour activists who were somewhere on the streets of Scotland, the SNP won every one of the seats. Mind you, we won all the seats that weren't paid visits as well."

No one does hubris with more barefaced cheek than Salmond. When things are going well, his confidence, of which he has a surfeit, overflows. It is not blood that courses through his veins, a pundit once opined, but optimism. Keen gambler that he is, Salmond exudes hope, but it is born of pragmatism, not delusion. As a backer of horses, he studies form with the same intensity as he does the ramifications of the Barnett formula. Once upon a time, he and the late Robin Cook were rival newspaper tipsters. Cook may have known how to groom horses, Salmond claimed, but he knew better - as the racing records apparently showed - how to spot a winner.

His competitiveness is legendary. The only election he has ever lost occurred in the late 1970s, when he stood for the student presidency of St Andrews University - then, as now, as Conservative-inclined as the Monday Club. Ask Salmond by how many votes he was defeated and he reels the figure off with the chagrin of someone whose grief knows no bounds. His main opponent was called Bainbridge and throughout the campaign Salmond could not resist calling him Braindamage, something which, he later conceded, may not have helped his cause. Nor was he a generous loser When this was pointed out to him he quoted the racing driver Jackie Stewart: "Show me a gracious loser, and I'll show you a loser."

Some view his pugnaciousness as arrogance, others as archetypically Scottish. It is probably a mixture of both. In person, he is affable, engaged, witty, feisty, occasionally peppery, always eager to offer an anecdote. The worst a recent biographer could find to say about him was that he sometimes shouted at civil servants. His memory of facts and statistics is geekish. As a fan of Heart of Midlothian FC (Hearts), he can reel off the names of who played in what cup tie back to the days when footballs were made of leather and Bovril was the half-time drink of choice. As a golfer, he knows not only who won the Open championship where and in which year, but what they scored in each round. It is odd, therefore, that one of the criticisms levelled at him is his lack of attention to detail. Like Winston Churchill, he has a desire to win arguments and swat opponents with rhetoric and that tends to obscure his interest in the nitty-gritty of policy.

Fight on three fronts

What cannot be gainsaid, however, is that Sal­mond is - as much as any other political leader in a western democracy - the unchallenged and acknowledged star of his bailiwick. Moreover, he is popular. Polls consistently put him ahead of his party in terms of public approval and he is far more popular than the Nats' avowed aim of independence. Love him or loathe him, he cannot be ignored.

Opponents in other parties attempt to use his ubiquity to the SNP's detriment. Salmond, they insist, is a one-man band, the only soloist in the orchestra. A few years ago this was perhaps true. Today it smacks of desperation or, worse, complacency and denial. Were Salmond to fall under a bus, those lining up to become his successor might not be legion, but they would be several and serious, and would include his deputy, Nicola Sturgeon, and others such as Michael Russell, the education secretary, and the justice secretary, Kenny MacAskill - on whose say-so Abdelbaset Ali Mohmed al-Megrahi, the only person to have been convicted of the Lockerbie bombing, was released from prison in 2009.

Nor is Salmond unaware of this. At the outset of this year's election campaign, he said that the SNP proposed to fight it on three fronts: its record in government, its vision for Scotland and the quality of its "team". It was a gauntlet the other parties, most notably Labour, chose to disregard. Instead, the Scottish Labour leader, Iain Gray, preferred to concentrate his attack on the Tories at Westminster and the Cameron-Clegg coalition, even though it was pointed out repeatedly that they were not standing for election in Scotland. It was a huge tactical error. As the six-week-long campaign unfolded, the Nats moved from a distant second in the polls to command an insurmountable lead.

Time and again, it appeared it was Salmond, as much as his party, that the public supported; he was a gilt-edged asset in whom countless Scots were prepared to place their faith. In contrast to other party leaders in Scotland, he has the notable advantage of not having to look over his shoulder whenever he wants to say or do anything. When Labour is in need of ­succour in Scotland it sends for so-called big beasts such as Gordon Brown, Alistair Darling and Douglas Alexander. If Annabel Goldie, the erstwhile Conservative leader, wanted a shoulder to cry on, she could always depend on David Cam­eron, who is even less appealing to Scots than Margaret Thatcher. Meanwhile, the Lib Dem leader, Tavish Scott, tried desperately to distance himself from Nick Clegg, but to no avail. For his pains and for the loss of 11 of his 16 MSPs, he had no option but to resign. Was he, like Gray and Goldie, told by his southern masters that enough was enough?

For Scots, who perceive such interference as patronising, the signals that these moves send out are not reassuring. Salmond is far too savvy not to use this to his advantage. On BBC2's Newsnight recently, he asked Jeremy Paxman to allow him to finish his answer, after which Paxman would be free to patronise him. Such quick thinking endears him to Scots, who are constantly told they are not capable of managing their own affairs though other, even smaller nations appear perfectly able to do.

Similarly, the sight of expat Scots, such as the novelist Andrew O'Hagan, the historian Niall Ferguson or the professor of media Tim Luckhurst, denouncing the SNP and bemoaning the idea of independence only plays to Salmond's advantage. As he is well aware, nothing irks Scots so much as compatriots who've gone elsewhere telling those who stayed at home how they must vote. Salmond is happy with such adversaries, knowing that their influence achieves the opposite of what they intend.

Politics has been a way of life for Alex Salmond virtually since he was born nearly 57 years ago in Linlithgow, West Lothian - where, as he once told me, his putative biographer, "much of Scottish history was made and unmade". His parents were both civil servants, but the chief influence on his childhood was his grandfather, the town's plumber, who took him on tours spiced with tales from Walter Scott and Blind Harry. "For example, he showed me the ground where Edward I had camped before the Battle of Falkirk; he showed me the window from where the Regent Moray [James Stewart, 1st Earl of Moray] was shot dead in the street."

At primary school he savoured his first election victory after promising a free ice cream to those who voted for him. It is, say his critics, the kind of carrot he continues to offer without explaining fully how he intends to pay for it. As a schoolboy, he was unable to participate as much as he would have liked in sport because he was asthmatic. He made his biggest impact as a boy soprano. Singing the title role in Gian Carlo Menotti's Amahl and the Night Visitors, he received a warm review in the local newspaper and, had his voice not broken at the wrong moment, might have gone on to pursue a professional singing career. A novelty CD, released in 1999 to raise funds for the SNP, shows what a loss he was to the performing arts.

It was at St Andrews - long the most anglicised of the Scottish universities - where he studied medieval history and economics, that he joined the SNP after having an argument with a Labour-supporting girlfriend. On leaving university, he joined the department for agriculture and fisheries for Scotland and then worked for the Royal Bank of Scotland as an assistant to its chief economist. In 1981, he married Moira, who is 17 years his senior and who had been his boss in the civil service; the couple have no children. Then, in 1987, he ousted the incumbent Conservative MP for Banff and Buchan, Albert McQuarrie.

Back to Holyrood

It was the beginning of an enduring love affair with Westminster that he has never disguised, while attempting to disengage his country from it. Three years later he became SNP leader and a decade thereafter, having seen Scotland's parliament reconvened following a hiatus of 300 years, he stood down. At the time the decision was viewed with suspicion and fed rumours, which he revelled in acknowledging. He was, he told me on the day he announced his resignation, supposed to be terminally ill or have accumulated mountainous gambling debts or be having an affair with Sturgeon.

None was true. Salmond had always vowed to serve ten years as leader and, having done that, he intended to spend time reducing his golf handicap. In 2004, however, following John Swinney's resignation from the SNP leadership, he was back and determined to make the SNP the party of government. First, however, he had to win a seat that was far down the Nats' winnable list. His victory in Gordon, in north-east Scotland, with just over 2,000 votes to spare was symbolic, inspiring and typical, coming from behind in the polls to ease ahead in the final straight and romp lengths clear as the finishing line drew near.

It was a gamble that might have ended his career, had it not paid off. But it is at the root of Salmond's success, and those opposed to independence overlook it at their peril. These are the same people with the same tired and negative arguments who said a Scottish parliament would never work and that, if it did, there would never be a Nationalist government and that, if ever that came to pass, it would never in its wildest dreams have a majority of MSPs.

One by one, Salmond has overcome the odds to make all of these a reality. Who, four or five years hence and irrespective of what the pollscurrently predict, would bet against him delivering independence?

Alan Taylor edits the Scottish Review of Books

This article first appeared in the 23 May 2011 issue of the New Statesman, Obama 2.0

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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 23 May 2011 issue of the New Statesman, Obama 2.0