In February 2020, I attended a screening of Josh and Benny Safdie’s Uncut Gems at Quentin Tarantino’s New Beverly Cinema, a venue widely known and admired among film enthusiasts for its devotion to celluloid exhibition. I was awestruck by the exquisite 35mm presentation of a movie I had previously—like everyone else in the world—only seen projected digitally, and even more astonished when I spoke with the Safdie brothers afterward and learned how simple it was for them to strike a flawless 35mm print from their digital source. Back in 2005, when I directed Bad Reputation, a microbudget horror movie shot […]