Agreed about the faster stock really giving cinematographers a new way of telling a story. It worked greatly for those films, and I gotta throw a shout out to Willis for his work on MANHATTAN. I think it's too bad that faster stock took over so much that the natural lighting style is pretty much a standard in films, unless you hire someone who knows how to emulate the old look of movies and that can be tricky, especially if you want those shadows. That's why I admire even Jonathan West, who actually took notes from Finnerman on how to get the lighting right and did an admirable job emulating the look of TOS for "Trials and Tribble-ations".
Thanks again for all that info. I've been doing photography as a hobby for awhile, but I never delved into filmmaking so I'm still learning the technical side of things on that medium. I don't think I'll ever try that out, but I still find it fascinating.