These are exciting times. For the first time since the beginning of film, we have a genuine chance to redeem the cinema, to limit the influence of its financial masters and deflate the excessive commercial concerns that have suffocated its development. Using digital technology, filmmakers can now produce on the cheap personal, independent, non-formulaic movies. And with broadband almost a reality, it will soon become possible to distribute a film directly to its audience, in effect bypassing the system which is presently making a public release difficult for any project that does not fit the mold.

Film schools unfortunately have not kept up with these developments. Worse, most of them have become subsidiaries of the industry. In many schools industry professionals now make up the majority of the teaching staff, sharing their experience of the "real world" with students, spreading the values that await them on the outside. It is not so much that film education is now for the most part vocational in nature, the curriculum is also more and more defined by the skills Hollywood deems necessary from potential recruits.

Think about it: what the industry wants least of all is a lot of film artists, independent men and women capable of changing the cinema around. Instead it seeks flashy directors and many assistants and technicians willing to do whatever is asked of them in exchange for high paying jobs.

I wrote Film Production Theory to counter this mentality, to remind you that cinema is a much more exciting field than the limited range of options peddled in most film schools today. Talented filmmakers should not give up their dreams because Hollywood has no use for them. Remember: tomorrow's cinema will be what you make it to be.