Most directors and cinematographers who shoot on film will tell you that nothing is more satisfying than the sound of the stock running through the camera gate or the sight of light pushed through film at 24 frames per second. But really, it is all about the image and how that image will live on celluloid. Whether they're using 35mm or Super 16mm, filmmakers have a certain aesthetic in mind when they choose to shoot on film.

This discussion features TFF '09 filmmakers Damien Chazelle (Guy and Madeline on a Park Bench), Julio DePietro (The Good Guy), and Bette Gordon (Handsome Harry, Variety), cinematographers Stuart Dryburgh (Oscar®-nominated for The Piano) and Fred Elmes (Blue Velvet, The Ice Storm), and producer and former TFF juror Christine Vachon (Killer Films). Moderated by American Cinematographer's Patricia Thomson.