That would be kind of fitting, beings that Douglas Trumbull shot a lot of the miniatures for the original at very low frame rates. It was basically like motion-controlled timelapse shots.
The rear projection in Fight Club was so good it didn't even make it onto this video.
Anamorphic is just a pile of aberrations. That's the esthetic. One of those happens to be purple CA. It's been mitigated for the most part on the high end, but it's probably going to be something you'll be dealing with at the entry level for a while. Watch Blade Runner again. High contrast wide open shots are full of it.
His talk about creating a new format is kind of odd. 1.66:1 was a common aspect ratio through the 70s, especially in England. Many theaters in England weren't able to update their screens to widescreen because they were still recovering from WWII, so English DPs were uncomfortable masking all the way to 1.85:1 and losing that space. But even The Godfather was 1.66:1. Sophia Coppola's new movie appears to be as well.
But the fact that Bazelli used the added height from the Alexa's open gate does make it a new format. Just odd that he buried the lead a bit.
That's very cool. They do appear have a gentle enough contrast to look great in black and white but without flaring or veiling too much and washing everything out. The stills in this article are great.
I've always thought the triangle bokeh was a neat look. I think it's part of what makes movies like Raging Bull and Blood Simple look so interesting.
Additionally, Kubrick did own a set of the bayonet mount mk.1 super speeds, which people usually call B-speeds. He used them on at least The Shining and Full Metal Jacket.