The Friese-Greene Club

The Friese-Greene Club The Friese-Greene Club is a small, private member's club in Bangkok Thailand. Visitors Welcome
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It is dedicated to those people who have a passion for cinema; filmmakers, film students, film journalists, or film enthusiasts.

The Friese-Greene ClubSeptember 2026 ScheduleThree years ago Warner Bros decided that Coyote vs Acme, a finished film, w...
31/08/2026

The Friese-Greene Club

September 2026 Schedule

Three years ago Warner Bros decided that Coyote vs Acme, a finished film, would be worth more as a tax write-off than as a film, and shelved it. It has just been released by somebody else and is sitting at 95 per cent on Rotten Tomatoes. William Goldman said the only thing anyone in Hollywood knows for certain is that nobody knows anything, and it is still the truest sentence ever written about the business.

So Fridays this month are flops that became cult classics. Blade Runner, The Thing, The Big Lebowski and Donnie Darko all died on release. And The Rocky Horror Picture Show, which was pulled from cinemas after a week, and which we show in memory of Tim Curry, who died last week at eighty.

The rest of the month:

Tuesdays are comedian biopics: Lenny, Man on the Moon, Stan & Ollie, Dolemite Is My Name, and The King of Comedy, which is not strictly a biopic, but Rupert Pupkin is more real than most comedians.

Wednesdays, David Cronenberg, from Scanners through Videodrome, The Fly and Naked Lunch to A History of Violence. Exploding heads on the 9th, if that helps you plan.

Thursdays are films shot in a single take, or made to look that way: Russian Ark, which really is one 96-minute shot through the Hermitage, Victoria, Boiling Point, 1917 and Birdman.

Saturdays are anniversaries. Blue Velvet is forty on the 19th. Also My Man Godfrey at ninety, The Day the Earth Stood Still at seventy-five, Trainspotting at thirty and Mulholland Drive at twenty-five.

And Sundays, 1962, which on this evidence was a vintage year: The Man Who Shot Liberty Valance, Jules et Jim, Ride the High Country, To Kill a Mockingbird and What Ever Happened to Baby Jane?

Bookings are up at fgc.in.th.

* * *

Before I get on to this month's rant, two disclaimers, so that I can plead innocent in advance to the various crimes I am about to be accused of.

The first is racism.

We are now told that we are all one people, multicoloured and multidimensional, shades of the same basic core, and that to point out the weaknesses of a nation or a culture, or even its strengths, is to make a racial generalisation, which is not only inaccurate but the sort of thing that would get your statue pulled down, if you had one. So we are taught to treat everybody as if they were exactly the same.

I'm not sure this is always helpful.

It has always been said that the English refuse to learn foreign languages and simply speak English louder. That is largely true. But it's not as bad as the Americans, who don't even bother speaking louder. And I would argue that American foreign policy has been failing for seventy years on precisely this principle: the belief that economic self-interest will drive every nation towards a sensible response. It doesn't. There are cultures in which some things matter more than money, and Americans flatly refuse to believe that anyone could think such a thing.

So my argument is that cultures do have real differences, in priorities, in behaviour, in what they are good at, and that rather than pretending otherwise, we should appreciate a world in which we are not all the same.

The second disclaimer concerns my wife.

When I speak about Thai people, you must understand that my principal specimen of Thainess is my wife, who comes from Korat. Please note: Korat. Not Isan. Heaven forbid you should call her Isan. Korat is the gateway to Isan, which is not the same thing as being Isan, in the way that Dover is not France. She speaks Korat language, you understand, not Isan language, even though it sounds exactly like Isan language and shares 99.9 per cent of its vocabulary. The people of Korat are a distinct and superior race, and the fact that nobody outside Korat has noticed is entirely their loss.

As an aside, and a story I love to tell: the great heroine of Korat is Ya Mo, whose statue stands in the middle of town. There are several versions of what she did. This is the one I like, and if you know a truer one, I'd rather you didn't. In 1826 the Lao army of Vientiane slipped past the governor and his men and arrived at an undefended city, where only the women remained. The soldiers, presumably, were looking forward to a jolly good ra**ng. Ya Mo decided that the only possible solution was not to fight but to throw a party. She brought out the youngest and prettiest women, the strongest moonshine and the fattest pigs, and put on the party of all parties. The Lao had never known the like. They drank and danced themselves into a stupor, whereupon Ya Mo led the women out with the kitchen knives and cut every one of their throats.

I mention this only so that anyone who still imagines Thai women as dainty, docile angels who exist to serve their menfolk should bear in mind that they are quite prepared to slit your throat at any moment.

But back to my wife. I don't want you to think my feelings towards her are anything other than adoration. But I am convinced of one thing. If she were green with six arms and four eyes, and I were a sort of mauve jelly with a hat (some might say I'm heading that way), we would be constantly astonished by how similar our thoughts, aims and desires turned out to be. We would recognise that we were utterly alien species, thankfully with enough in common, and small enough mouths, not to eat each other.

The trouble is that we look alike. Two eyes, two arms, two legs. It's deceptive, because it reinforces the idea that we are the same species. I am writing to tell you that we are not.

* * *

There are many examples I could give, but the one I've been finding interesting lately is this: Thai people do not have our obsession with the future.

The whole of an Englishman's life is arranged around the future. He works through the morning to get to lunch, and through the afternoon to get home. He works Monday to Friday to get to the weekend. He works through the year to get to the fortnight when he can lie on a beach in a country whose language he refuses to learn, and he works through his life to get to retirement. At which point, remarkably often, he promptly has a heart attack and dies. Shell Oil studied its own employees and found that the ones who retired at fifty-five died sooner than the ones who retired at sixty-five. It turns out that the only thing keeping the Englishman alive was the next thing he was working towards.

In Thailand it's different. I'm going to quote Kung Fu Panda here, because it is my main source of knowledge about Buddhism, and the tortoise put it better than I could: "Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present."

I'm reliably informed that this is actually in the scriptures, though less snappily. The Buddha told his monks not to chase after the past or place expectations on the future, because the past is gone and the future hasn't arrived. And Ajahn Chah, the great Thai forest monk, put it this way: "If you let go a little you will have a little peace. If you let go a lot you will have a lot of peace. If you let go completely you will have complete peace."

Now, the words "let go" are anathema to the Briton. We do not let go. We hold on. We hold on to grudges, to umbrellas, to the receipt in case it needs to go back, to our place in the queue, and to the stiff upper lip, which is really just a way of holding on to your face. In the year to March, doctors in England wrote 92.6 million prescriptions for antidepressants. We are not a people at peace. We are a people with a plan, and a plan B, and a small notebook in which plan C is written down in pencil.

Whether or not living in the present is in the scriptures, I can certainly tell you it's in Thai daily life. In our house, the electricity bill is paid at precisely the moment the man arrives with the big cutters for the meter. Bus tickets are bought in the queue for the bus. The birthday cake is bought five minutes before the candles are due to be lit. Umbrellas are only ever purchased at a 7-Eleven, while it is raining, by someone who is already wet. According to the World Health Organisation, 21 per cent of motorcycle pillion passengers in Thailand wear a helmet. The other 79 per cent are living in the moment, and the moment is doing about eighty.

And the economists have noticed. Thailand has the second-highest household debt in the Asia-Pacific. Nearly half of Thai pensioners have no savings at all, nearly half are in debt, and nine out of ten have little or nothing put by for old age. Which makes perfect sense, if you think about it, because old age is in the future, and the future is a mystery.

My wife once noticed that I seemed worried, and asked what I was worried about.

"Everything," I said.

She did not understand at all. So I gave her the list. It took about twenty minutes and ran, in ascending order of magnitude, from whether the air-conditioners were overdue for cleaning, through the electricity bill, the projector bulb, the crack in the bathroom tiles, the exchange rate, the price of eggs, a possible downturn in the Thai economy leading to widespread poverty, the collapse of the international order, and finally global thermonuclear war.

I then asked what she was worried about.

"Nothing," she said.

I pressed her.

"Why worry? We can't change the future."

I am not saying either of us is right. It is a lovely idea to enjoy the present, to seize the day, to make hay while the sun shines. And I do sometimes think the Western mind can ruin the most beautiful sunny day by noticing the clouds on the horizon and going indoors to check the forecast.

* * *

However, there is a downside to living in the present, which is that the future does turn up eventually, whether you've been expecting it or not, and it may arrive to find that you have spent all your money, smoked and vaped until your lungs resemble a Swiss cheese, and drunk your liver into an early grave.

Take Thailand's politicians.

In recent years a surprising number of very rich and very powerful Thais have gone to prison. Not five-star prison. Actual prison.

Thaksin Shinawatra, twice prime minister, billionaire, former owner of Manchester City, spent eight months in Klong Prem after the Supreme Court decided last September that the six months he had previously served in a VIP suite at the Police Hospital, recovering from a trigger finger, didn't count. Reuters described the conditions: three blankets to sleep on, an open bathing area, bland food and the constant risk of violence. He was grouped with the elderly political prisoners, given a prison haircut, and his daughters were allowed to put money into his prison account so that he could spend up to five hundred baht a day on snacks. Five hundred baht. The man used to fly to Chiang Mai by private jet for the weekend.

Chuwit Kamolvisit, the massage parlour king who became an MP, did eleven months for having sixty b**r bars on Sukhumvit Soi 10 bulldozed at four o'clock one morning. "You're like a dog in a cage," he said afterwards. "It's not like in a Hollywood movie, one cell room with two people. No, no, no. This is Thailand. You have to sleep with a hundred, all together."

And Premchai Karnasuta, boss of Italian-Thai Development, the company that built Suvarnabhumi airport, spent nearly two years in Thong Pha Phum prison for shooting a black panther in a wildlife sanctuary. Also a pheasant and a barking deer. It was a camping trip, and men will be men!

I have read enough newspaper articles about the plight of British and Australian drug smugglers in Thai jails to imagine that all this must have been fairly horrific. And I would have thought that for men accustomed to chauffeurs, first-class flights and ch*****ne on demand, it would have been unbearable. People tell me, of course, that even though there is no such thing in Thailand as a white-collar prison, money and power can still buy certain privileges. Perhaps. But I doubt the Bangkok Hilton has ever had five stars.

Which reminds me of a small upcountry resort I stayed in some years ago. The owner was enormously proud of his establishment, which seemed almost impossible given its state of decrepitude. But he was so full of cheer that it seemed rude to do what I wanted to do, which was to get back in the car and drive away at high speed. Perhaps noticing my expression, he promised to show me the five-star room. We climbed the stairs to the top floor, the lift being obviously out of the question, and he showed me into a large, musty room in which nothing whatsoever could be described as luxurious.

"Lie on the bed," he said, "and look up."

I lay on the bed and looked up.

"Now you understand," he said. "Five stars."

There was a hole in the roof.

* * *

But here is what I find remarkable. Unlike the Westerner, who under those conditions would hang himself, or at least allow himself to be hanged while the cameras were off, the Thai VIP endures it. And when he gets out, he does not seem broken. He is not traumatised for life. He puts his suit back on and returns to the ch*****ne and the first-class flights, a little thinner and none the worse for wear.

Thaksin walked out of Klong Prem in May to three hundred cheering supporters, and his ankle tag comes off on the ninth of this month. Chuwit was pardoned in December, and within days was in San Francisco for his daughter's graduation. "Life is strange," he posted. "The other day I was in prison. Today I'm in San Francisco." He later remarked that prison had improved his health, because he ate and slept on schedule and nobody around him smoked or drank. Premchai came out on parole, and then the building his company was putting up fell down in last year's earthquake, and he is now on bail while the courts decide about that. The present, for these gentlemen, is whatever room they happen to be standing in, whether it comes with a butler or a bucket.

And it's not just the millionaires. During COVID, when Bangkok's businesses closed, something like two million people lost their jobs and went home to their villages. Within days, and I mean days, they were tending the buffalo, helping in the fields, eating sticky rice and nam prik, and not, as far as anyone could tell, terribly depressed about it. An Englishman who loses his job in Croydon does not, within days, take up farming in Lincolnshire with a smile on his face. He takes up drinking in Croydon.

So here is my theory. Thai people live in the present. And the price of not thinking about the future is not only that you must accept whatever future your lack of planning has made for you, but that when it comes, you must enjoy it precisely as much as you enjoyed the present before it. That, I think, is the deal. And it explains why the staff at 7-Eleven, on twelve or thirteen thousand baht a month, can still laugh as you burn your tongue off on a toasted cheese sandwich heated to 5,600 Kelvin; why the men who collect the rubbish, who must wrestle gigantic street rats by moonlight for possession of bags of refuse that have been rotting in the sun all day, can still smile; why the deaf girls outside the Nana Hotel can go off with a strange Westerner with whom they cannot exchange a single word, and come back laughing; and why my wife, asked what she is worried about, can say "nothing" and mean it.

The English, by contrast, are a people for whom the highest possible praise for any experience is: "Well, it wasn't too bad. Could have been worse, I suppose. All things considered."

I still worry. I can't help it. But I have come to think that living in a present which always somehow manages to be sunny is a wonderful thing.

Have a great September!

AUGUST AT THE FRIESE-GREENE CLUBAugust at the Friese-Greene Club is a month built on contrasts. We open each week with C...
03/08/2026

AUGUST AT THE FRIESE-GREENE CLUB

August at the Friese-Greene Club is a month built on contrasts.

We open each week with Chinese Blockbusters — the colossal, wildly popular films that pack houses across China and somehow never quite reach us here: planet-moving science fiction, a Zhang Yimou palace intrigue that unspools over a single treacherous night, a true-story drama about smuggled cancer drugs that shamed a nation into changing its laws, and a fierce tale of exam-hell adolescence.

Wednesdays we set aside for Sam Neill, who left us in July. It's a small tribute to a wonderfully unshowy actor — the jealous husband on the piano, the officer aboard a runaway Soviet submarine, the man whose pleasure cruise turns very nasty indeed — and to the fact that he was, quietly, one of the best we had.

Thursdays belong to Martin Sheen, less the leading man than the great character actor, lending his gravity to a Cronenberg nightmare, a Camino pilgrimage, a President of the United States, and one genuinely unsettling neighbour.

Then, come Friday, the week ends the world entirely: the scorched highways of Mad Max 2, a Britain with no more children, a radioactive cloud drifting south toward Melbourne, and one poor soul with a payphone and seventy minutes to live.

Saturdays we recover our composure with Louis Malle, that most elegant and quietly disquieting of French directors.

And we close each week on Sundays with Great Dialogue — four films whose scripts crackle, wound, and sparkle in equal measure, a reminder that the sharpest effect in all of cinema is still a well-aimed sentence. Mondays, as ever, we rest. Do come and join us.

What follows is heresy.

So let me say at the outset that I am aware of the risks. As the curator of a film club, one is expected to have reasonably good taste in films. And I am now going to spend a few minutes of your time suggesting that several of the men on the cinematic Sistine Chapel ceiling are, on balance, quite a lot less remarkable than we have all agreed to pretend.

The accused are Stanley Kubrick, Robert Altman, Christopher Nolan, and — because he has done more for his own canonisation than the other three combined — Quentin Tarantino. Runners-up include Terrence Malick, Iñárritu and Wes Anderson.

I want to be clear about the charge. It is not that these men are bad directors. They are all technically proficient. Several of them have made films I would happily watch again. The charge is that the worship has become more important than the work — that somewhere along the line we stopped saying "that was a good film" and started saying "he is a genius", and the brand of 'genius' requires something more than a few decent films.

Let us begin with how it is done, because there does seem to be a method.

Rule one: make very few films, and take a long time over them. Kubrick made thirteen features in forty-six years. That is one film every three and a half years. But scarcity is the oldest trick in the luxury goods business. Nobody queues for something there is plenty of.

Rule two: refuse to explain yourself. Kubrick perfected this — the recluse in Hertfordshire, the man who would not do interviews, who controlled his own prints, who allegedly wrote to individual projectionists about lamp brightness. The less you say, the more people say on your behalf.

Tarantino took the opposite route to the same destination: say a great deal, but combatively. When Channel 4's Krishnan Guru-Murthy asked him in 2013 about screen violence, Tarantino informed him "I am shutting your butt down!" — which is not an answer, but is a magnificent piece of brand management.

Terrence Malick found a third route: say nothing at all for twenty years. Between Days of Heaven in 1978 and The Thin Red Line in 1998 he simply vanished, and the silence did more canonising than any of the films. By the time he came back he was no longer a director, he was a myth.

Rule three: do it the hard way, and make absolutely certain that somebody mentions this in print. Nolan is the world champion here. Real corn planted in Alberta. A real Boeing 747 purchased and crashed for Tenet because, he explained, it was more efficient than building a miniature. Iñárritu shot The Revenant in natural light only, which in a Canadian winter gives you about ninety usable minutes a day, and then let everybody know that DiCaprio had eaten a raw bison liver.

Kubrick rebuilt blocks of New York outside London for Eyes Wide Shut, and for the candlelit sequences in Barry Lyndon acquired three lenses originally built for NASA satellite photography. And when he decided to recreate Vietnam in the disused Beckton gas works in East London, it was because of his pathological fear of flying.

And here is the thing that gives the game away. It does not matter in the slightest which position you take, so long as you take it absolutely.

Kubrick was an early adopter of everything. He was using Steadicam almost the moment it existed, moved to Avid editing when the industry was still cutting film, loved car phones, pagers and gadgets, and made enormous American sandwiches in a microwave. Nolan's entire identity is the refusal of new technology — film not digital, practical not computer-generated, no video village, no green screen if he can possibly avoid it.

These are opposite behaviours. Both are produced as evidence of genius.

Which tells you the tool was never the point. The dogma is the point. It is not what your schtick is, it is how unwavering you are in obedience to it. Kubrick is a genius because he seized every new instrument the moment it appeared. Nolan is a genius because he refuses them. Whatever the man does is proof, because he is a genius, and he is a genius because look what he does.

Unfalsifiable, like all good theology.

Rule four: have weird little rituals, habits or fears, which in a normal person would be simply affected and annoying, but when displayed by a cinematic genius become further evidence of exceptionality.

Kubrick, as we have seen, suffered from pteromerhanophobia. One of his hobbies was to listen in to the Heathrow air traffic control channel.

When Tarantino calls for another take but can't explain what was wrong with the previous one, his catchphrase is "Because we love making movies!" Austin Butler reported that it "changed the atoms in the room". Wow! He has rules of conduct on set which are known as Lex Quentini. If you fall asleep on a Tarantino set, the punishment is that you are photographed by the camera crew with Big Jerry, a large purple d***o. Wow again! He's both dictatorial and playful — true genius!

Altman refused to storyboard, and would turn up in the morning without telling the crew what he was shooting first — just to keep them fresh and motivated, you understand, not of course because he hadn't done his homework.

Nicolas Winding Refn wears a blanket around his waist to keep his energy in. He calls it his power blanket, and says it holds the energy and calmness inside like a genie in a bottle.

David Lynch drank the same chocolate milkshake at the same time at Bob's Big Boy every day for seven years, on the theory that ideas are fish and you have to sit still to catch them.

Lynch, though, I find I want to let off, and I have had to sit and think about why. I think it is because he never claimed the milkshake worked. He never claimed he knew what any of it meant, either. The milkshake was just a chair to sit on while waiting. You cannot really accuse a man of overselling a talent he spent fifty years cheerfully refusing to explain.

Although I notice that "he never explained himself" is also rule two, so perhaps I am simply doing the thing I am complaining about, and this is how it happens to everybody.

Rule five: ban something from your set. When Anne Hathaway mentioned that Nolan does not have chairs, because if people sit they are not working, the internet lost its mind for a fortnight. Nolan's own spokesperson later clarified that the only things banned are mobile phones and smoking, and that he simply chooses not to use a chair himself. But by then it was too late. The chairs had entered scripture. He is now a man so devoted to cinema that he will not sit down, and no amount of correction from his own publicist can undo it.

Rule six, and this is the important one: never admit a mistake. Let the disciples do the work for you.

Because they will. My God, they will.

Consider Barry Lyndon. In 1975 it was a commercial failure, taking around twenty million dollars in a year when Jaws was eating the world. Pauline Kael called it a coffee-table movie and said Kubrick had drained the blood out of the story. Mad magazine ran it as "Borey Lyndon".

Barry Lyndon is now routinely listed among the finest films ever made. Nothing about the film changed. But the Kubrickian magic has over time oozed over it.

The Shining, likewise. In 1981 it received two Golden Raspberry nominations — Worst Director for Kubrick, which is his only Razzie nod, and Worst Actress for Shelley Duvall. Stephen King has spent forty-five years telling anyone who will listen that it is "like a big, beautiful Cadillac with no engine inside it", and that Jack Torrance has no arc. He is right about the arc. Nicholson arrives in the first scene already visibly deranged, grinning like a man who has read the last page of the script, and then spends two hours becoming slightly more so. It is a performance with nowhere to go, and we have collectively agreed that this was Kubrick's intention all along.

And then there is Room 237, the 2012 documentary in which grown adults explain that The Shining is secretly about the Native American genocide, or the Holocaust, or Kubrick's confession to having faked the Apollo 11 landings. The evidence for the last one is that the average distance to the moon is 237,000 miles and Danny wears an Apollo 11 jumper.

Kubrick's own assistant Leon Vitali eventually had to go on the record to explain that the jumper was knitted by a friend of the costume designer, and that the poster people had identified as a minotaur was a picture of a downhill skier. "It's a downhill skier. It's a downhill skier. It's not a Minotaur." The triple repetition is the sound of a man who has had this conversation many times before and knows he will have it again.

There is a second theory about the same poster, incidentally. Printed beneath the skier is the word MONARCH, which some have read as a reference to Project Monarch, an alleged CIA mind-control programme. There is also a ski resort in Colorado called Monarch Mountain, a couple of hours from where the Overlook is meant to stand. One poster, two mutually incompatible conspiracies, and a set dresser who on a Tuesday afternoon in 1978 reached for a Colorado ski poster to hang in a Colorado hotel.

You see, ordinary films are full of happy accidents, luck and mistakes. But when a director is deified, even the weird look on the face of an extra becomes meaningful, his continuity errors become deliberate spatial disorientation, his flat scenes become studies in emotional withholding, and his inaudible dialogue becomes an immersive artistic choice.

Nolan has actually said this out loud. Asked about the sound mix on Interstellar he explained that he does not agree that clarity can only be achieved through dialogue, and that he uses dialogue as a sound effect. Which is a very elegant way of saying that if you could not hear it, well, how can you possibly be so pedestrian as to think that the only form of communication is through something as dull as the human voice.

By Tenet the problem had become a running joke — a film whose plot was already a Rubik's cube being explained to you by a man gargling. Forbes suggested it would play better on Blu-ray with the subtitles on. And the faithful response was not "the sound mix is poor", it was "you weren't listening with all your senses".

Which brings me, inevitably, to the campaign for Christopher Nolan's The Odyssey.

Now. I have not seen the film. It may well be magnificent.

But, you see, I don't think it's possible to see it in Thailand the way Nolan intended. Because it has been made very clear to all that it was shot in true IMAX film, and must be seen projected in true IMAX film, as Nolan intended.

If you watch it in a 'normal' cinema, I have heard that the ticket-checkers tut and wag their fingers at you, because clearly you don't respect film-makers. Next you'll probably be waiting for it to come onto Netflix. Call yourself a cinephile?!

Forty-one cinemas in the world can show it as Nolan intended. Twenty-five of them are in America. Three are in Britain. The reels weigh over eight hundred pounds and require a trained projectionist, which in 2026 is roughly as common a profession as cooper or wheelwright. There are stories of people who have driven five hundred miles to experience the film as Nolan intended. They are the true cinephiles — like the pilgrims of old, suffering along their quest to reach religious satisfaction — not the vertical-drama-watching scum like you!

Don't you realise the camera was the size of a mini car, and had to be carried by a team of ten sherpas, and that eight of them died just to bring Nolan's visions to life? At one point they had to carry it over a mountain, and even Herzog was envious of their task.

But difficulty is the point, and difficulty is a renewable resource. If hardship is what gets a film onto forty-one screens, then Nolan is leaving an enormous amount on the table. Why stop at the camera? Put dried peas in your shoes for the duration of the shoot. Direct the whole thing holding your breath. Wear a hair shirt. Do it having not eaten since Tuesday.

For his next film he will apparently shoot entirely with the Hubble Telescope, which will require sending the crew into orbit. Think what a great cinematic achievement that will be.

And remember what IMAX was actually for. It arrived in 1970 with Tiger Child, and then North of Superior, and then To Fly!, and for two decades it was rollercoasters, space shuttle footage, and enormous fish. It was a fairground ride. It was tremendous fun and it had nothing whatever to do with storytelling, which is why nobody ever left one weeping.

The film opened to seven hundred and twenty-eight million dollars in twelve days, of which the IMAX screenings alone accounted for something like a hundred and forty million. People are not merely going. They are paying a premium to be seated in the front pew of the Church of Nolan.

So why do we do it?

We used to have gods, and then we largely stopped, and it turns out the hardware is still installed. The sociologist Chris Rojek describes celebrity as filling the space left by the retreat of religion — the post-God arrangement, the strange gods of the secular day. And celebrity worship is measurably intensifying: across American studies using the Celebrity Attitude Scale, the proportion of respondents scoring in the pathological range has risen roughly fourfold in twenty years.

But here is the problem. We have spent forty years systematically stripping the genius out of everything else. Music is assembled in Seoul on an industrial timetable by companies who kidnap children and hold them in singing and dancing jails for years. Fine art is a shark in a tank and a banana taped to a wall. And acting — poor acting — has been reduced to a man in a grey pyjama suit covered in ping-pong balls, shouting at a tennis ball on a stick which will later become a sky-monster. It is very hard to worship that.

Ask Ian McKellen. Because Gandalf had to be scaled larger than the dwarves, he could not share a set with them, and so he played the scenes at Bag End alone in front of a green screen, with thirteen photographs of the dwarves mounted on stands, each with a little light that flashed on to show which one was speaking, and their voices fed to him through an earpiece.

He broke down, and said out loud: "This is not why I became an actor."

So who is left to idolize? The director. Preferably one who seems a bit difficult, who does things the hard way, who has a Format and a Position and refuses to explain himself. We need someone to be the genius.

And who can even say what a director does?

Many years ago when I was at film school, the only people allowed to get behind the camera on a film project were those who had passed the camera test and had proven their ability not to destroy the camera. Ditto for those who could use the Nagra sound recorder, and ditto the film and occasionally man-eating Prevost editing machine.

Someone had a car, so they were obviously the producer.

But what of the person who had failed all the disciplines and couldn't be trusted with any technical job? Well, they clearly had to take the only job where no particular skill was required, and that was the job of director.

It may sound strange, but many films have been made by efficient teams in spite of rather than because of the director. Ask any 1st AD.

And this is the part that actually bothers me, rather than merely amusing me;

Michael Curtiz directed over a hundred and eighty films. Casablanca. Mildred Pierce. The Adventures of Robin Hood. Angels with Dirty Faces. Yankee Doodle Dandy. White Christmas. Swashbucklers, weepies, musicals, noir, horror, westerns. He won the Oscar. And he is not a cult, because he had no signature — he simply turned up and made whatever was in front of him extremely well, in whatever genre it happened to be.

Sidney Lumet made 12 Angry Men, Serpico, Dog Day Afternoon, Network and The Verdict, was nominated four times, and never won a competitive directing Oscar. He then wrote a book called Making Movies which is essentially a plumber's manual, cheerfully dismantling the mystique of his own profession. Which is possibly why nobody made him a god.

Robert Wise won two directing Oscars, cut Citizen Kane, and made The Day the Earth Stood Still, The Haunting and The Sound of Music. Victor Fleming directed Gone With the Wind and The Wizard of Oz in the same year, which ought to be worth a plinth somewhere, and instead is worth a pub quiz question.

One of the reasons is that auteur theory rewards repetition. It was built to detect recurring obsessions and visual signatures — so a director who does the same thing twelve times is an artist, and a director who does twelve different things brilliantly is a journeyman. Versatility reads as an absence of self. The very thing that makes Curtiz extraordinary is the thing that makes him invisible.

Look at Norman Jewison: a race-relations thriller (In the Heat of the Night), a glossy heist (The Thomas Crown Affair), a Jewish shtetl musical (Fiddler on the Roof), a rock opera about Christ (Jesus Christ Superstar), dystopian sci-fi (Rollerball). Three Best Director nominations across three decades, and not one win. But there is no such thing as Jewisonian.

Wes Anderson, meanwhile, has made the same frame so many times that he is now a filter on TikTok, which is either the highest honour available to a modern auteur or the punchline to this entire article.

I am not asking anyone to stop enjoying these films. I will probably show Barry Lyndon again and complain about it again.

I am only suggesting that we notice what we are doing. That when a man tells us his film must be seen on forty-one screens or not at all, and we nod solemnly and book a flight, it's really just about us standing in the dark, looking for something to kneel to.

And finding, at last, a minotaur in a picture of a downhill skier.

Have a great August!

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