ChainsawAsh:

Yeah, it's basically because it's cheaper. That and spherical lenses are much easier to shoot with than anamorphic lenses - they're nowhere near as long or as heavy, and they don't require as much light. A lot of cinematographers dislike anamorphic lenses, but like the 2.39:1 frame, so for them Super 35 is the way to go.

I would add, too, that some directors really like the extra cropping options that Super35 gives them. Not only for eventual P&S conversions, but even for the scope crop. The BTS feature on Se7en comes to mind with the editor adjusting headroom in each shot. Though I'm not sure Se7en actually was Super35, the concept is the same.

I dont think you get the awkward anamorphic "shift" when you rack focus with Super35 either. But I've always been mostly fond of that effect. What's that called, again?