Recently, I was reading an article by Hugh Hart in the Summer 2015 issue of the DGA Quarterly, which discussed film vs. digital cinema, a topic which has been much examined of late. While 99% of all Hollywood films, and independent films as well, are being shot and post-produced digitally – i.e. “born digital” – the article highlighted a new phenomenon – major commercial filmmakers returning to the physical film medium because the celluloid image offers a different, warmer, and some would argue superior set of visual values, resulting in a new countermovement within the industry, which challenges the conventional wisdom that “film is dead” and digital rules.
I would agree with this movement, and argue that film is more alive than ever, and that the headlong rush to digital is something that has its benefits and drawbacks. And indeed, there are many within the industry who feel actual film stock is an indispensable part of the cinema, both on an indie and a completely commercial level. As proof of this, one can cite J.J. Abrams’ Star Wars: Episode VII – The Force Awakens, Quentin Tarantino’s The Hateful Eight, Sam Mendes’ Spectre, David O. Russell’s Joy and Zack Snyder’s Batman v Superman: Dawn of Justice – all of which are shot on film.
In an interview with Michael Rosser published on December 3, 2015 in Screen International, Steven Spielberg argues that “if it is a straight story, without any benefits of new technology, there’s no reason to shoot anything digitally. The outcome digitally looks like the difference between a painting with acrylics and a painting with oils. Film is textural and had a kind of velocity in the grain count alone where digital is as clean as looking through a pane of glass at the outside world and to me it’s almost too vivid, too vibrant, too real.
Especially in historical films, there needs to be a bit of a veil between the here and now and something that happened way back when. That veil is almost unconsciously provided when you shoot on celluloid but is lost when you shoot it digitally. As long as we have film, why not shoot with the real stock?” When asked if George Lucas, a long time fan of digital cinema, ever tried to change his mind, Spielberg replied that “he used to, but he could never get me to do that.”