In response to the 05/07/08 article
Filmmakers play the waiting game while the governor awaits a photo op to sign tax credit bill:

Obviously it's not that important to sign the bill, but HE goes after people like me for buying cigarettes over the internet so he could collect taxes on me because I smoke them in Illinois.

How about that $1 million he sent to a NON-EXISTENT SCHOOL? WWHERE'S THAT AT, GOVERNOR, SIR?

I've a a SAG actor for couple of years now and auditions have dwindled down for me. Maybe I'm not a great actor but YOU are, governor. —Christopher Kopoulos

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In response to the 05/06/08 article
Sony Itasca’s last remaining department to close:

They are the losers. If Sony is not part of the Chicagoland drive for video productions, then I guess there are other video products out there that will want to do business in Chicago. And with freight costs going up! Find someone else. Midwest is where they should be. —JB

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XDCAM...now they just call it "Ex-cam".

And with the price of fuel going ever higher, consolidating distribution looks even more expensive. —Mike Janowski, Jaz & Company Electronic Post

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This is a sad day... having had the privilege to work at the Itasca location for 3 years with the guys in the B&P development, I can say the team is top notch and always on the cutting edge of broadcast technology.

I hope they are able to put their talents to work making something awesome in the near future. —Chris DiMaso, Film Workers Club

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We have been associated with the Sony Midwest office for over 20 years and they have always provided us with tremendous support and service. They will be sorely missed. —Mike Cullen & Bob Daly, The Tape Company

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The people in the Sony office have been great to work with over the years. They have provided us with excellent service on our media-tape orders.

Caryl,Bob,Tim, Mary Ann,and Andrew Galassini of Data Media Products in Glenview, Illinois —Tim Galassini, Data Media Products, Inc.

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I thought they closed at least 10 years ago! —Del Hall

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In response to the 05/01/08 article
DePaul students, grads go on the record to express frustration over recent prof firings:

As a graduate of the Digital Cinema program this past winter quarter, I was absolutely shocked that this happened right alongside my departure.

While I'm immensely grateful that I had the pleasure to take classes with these teachers before their abrupt and, frankly, unfair dismissal, I'm astonished that the program would let the individuals who are truly the strength of the program go at all, let alone without a proper explanation.

In addition, my mother has kept up with this news, and is completely livid that a program I dedicated my four years in completing, to leave myself in over $100,000 in debt, no longer has the quality to support even half that amount of money spent.

Quite frankly, they'll need to hire three Steven Spielbergs to make up for the loss of the enigmatic, dedicated, and exciting teachers they've foolishly let go.

DePaul needs to stop shooting itself in the foot because it's too afraid to take aim at a real Digital Cinema program. —Brandy Camel, DePaul DC Graduate

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De Paul is decades behind and proved it —JJ Field, none

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I liked Lou, but I don't understand Mia's complaint about the same person teaching Foundations (an freshman film class), Cinematography, and Compositing. I took both 275 and 378 with Scott Erlinder, is this who she's saying isn't qualified? WHAT?

Just because someone didn't work in Hollywood doesn't mean they don't know how to make films. —C.K., DC grad

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I have read with interest the comments posted on ReelChicago regarding the goings-on at DePaul's Digital Cinema program. I prefer not to comment about my experiences in the program, but choose to defend the students.

When I read comments that seem to try to discredit the messenger, rather than address the concerns expressed by the students, I wonder why the writer is more concerned with defending Digital Cinema rather than probing into the students' complaints.

It is my belief that any university should be listening to what the students have to say about the curricula they spend money and time on.

It is also my belief that students should be able to speak their minds freely about any criticisms they may have. There should never be any fear of intimidation, retaliation or shunning by faculty, administration, or other students.

There will always be those who are displeased with some aspect of an academic program. That is to be expected. You cannot please everyone.

However, when there is such an outcry of dissatisfaction with any aspect of university life, the only logical action is to allow all voices to be heard in a safe forum where the goal is to improve the situation.

As an American who supports the First Amendment, I prefer for others to be able to express an opinion, and have the substance of the argument be discussed.

It has always seemed suspicious to me when someone tries to deflect discussion by attempting to discredit the critic. —Vanessa Ament

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Frazier is a good friend of mine. He has worked in the industry, so the school hired an industry professional. He hasn't worked in hollywood, but he know video production.

Now, I do believe that the school should listen to their students, and what was the reason the other two instructors were fired? —MS

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No, I would never say that Scott Erlinder is not qualified. Scott has worked on Hollywood features ("Chain Reaction," "The Fugitive," to name a few), which is not to say that one must have worked on a Hollywood film to be "qualified" to teach (though I think it helps).

Personally, I think Scott is an amazing professor who cares deeply about his work and his students. I'm glad I was lucky enough to have worked for him on a couple of commercials. I think very highly of him, his craft and his teaching abilities.

As I said previously, it was the diverse faculty I had at DePaul that has made me into the filmmaker I am now, and I very grateful for my experience at DePaul.

My comment was a non-opinionated fact. I said that it was not uncommon for a professor to teach across his/her field of knowledge, so to speak. And it's true. No more, no less.

I didn't say it was bad or good, just the way it is at DePaul University. Only the current students and faculty can decide whether or not it works. —Mia Hernandez, DePaul University Digital Cinema Alumni

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In response to CK:

I don't think Mia is saying that you have work in Hollywood to teach in the program. Clearly that is not a prerequisite. I personally think that having worked in the field somewhat is better than not at all.

It's great to have someone sitting in front of the class talking about producing or directing a film, but when that professor has never done that themselves on a larger scale than Project Bluelight, I think that happens to be a serious problem.

Unlike some of the professors that do teach across disiplines of film, Scott Erlinder actually has practical work experience. He is, therefore, more capable of teaching both Cinematography and Compositing. He has done both in his professional career.

Whereas many of the professors who have been in the department for quite some time, with little or no experience in the field - other than Project Bluelight - are not qualified to teach beyond their "expert" base...and can't lead to benefit the students in any way.

Losing three professors with practical experience, despite their awards and accolades, and above and beyond the fact that they happened to work in hollywood, was a tremendous detriment to the program, due to the knowledge Digital Cinema students will now miss out on. —Cindy Waldeck, Former DC Major - Left before things went from bad to worse

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In response to the 04/30/08 article
Without Oprah and Al Capone, Chicago would
no longer have a global brand to distinguish it:

Oprah's in Chicago? Are you sure. I thought she was in Texas hangin' with the cattle ranchers. And Al Capone passed away a long time ago - like back in the 80s. I like Chicago...and think there's a lot of work going on. —Patrick Donnelly, companyc.tv

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Well then, here's to the next wave of Midwest nobodys, who do nothing but work hard, and innovate quietly.

We are at the birth of a new media/entertainment/movie explosion in Chicago. But it is up to us to develop it. Let's not sit around and hope others come in and grow this new community for us.

We are the resources that made Chicago great, and will take this new rise to an even higher level. Here's to Hollywood, IL. —Tom Rovak, Highly Defined, Inc.

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Kamin is on the money. I cannot agree that an artist would suffer from a clear eyed, unapologetic, stright-talking rep.

Chicago doesn't lack talent. It lacks distribution venues to exploit that talent. The conversation needs to switch to the distribution companies located within Chicago.

What do they need in personel and incentives to solicit and develop locally produced films and television programming to market and exhibit worldwide.

You needn't be a bootlegger to know it's about giving the people what they want. —Michael N.J. Wright, producer, cinematographer, Wright Bros. Photoplay

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I would like to add to Michael Wright's comment. Michael is right on target. We also need financial institutions and investors that understand this industry and can and will work with us to help build the infrastructure to grow this industry.

I have never met anyone in the financial world here in Chicago that is willing to truly partner with us. —Tom Rovak, Highly Defined, Inc.

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Vince Kamin takes an awfully dire view of our great city. I'd hate to think that Oprah (do people really know that it is even produced here?) defines us. What about our great comedy? What about the music?

If Mr. Kamin represents his clients with the attitude that we're a bunch of losers who will never amount to much, well, I feel sorry for his clients.

I choose to say, "Let's get it done. Let's use our deep and unique talents to show the world we matter." Cause we do. —Garry Grasinski, Grayson Media, Inc.

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In response to the 04/27/08 article
Chicago’s invisibility on the national scene is no help when it comes to expanding business:

All I ever hear in Chicago news is about Hollywood features, features, features. The production community is really a lot more then features and I don’t even think most of it is counted in our annual production totals.

I hate to say that when big features come to Chicago, they bring everything. Yes, it benefits some local labor and talent, but really, hotels and the food service industry are the real beneficiaries of these mega millions I hear about.

What nobody wants to talk about is how bad the strike of the '90s hurt Chicago. Agencies went off shore for production and never really came back. Obviously, the production game has splintered into many new areas, as Ruth points out, like websites, internet programming, on demand, independent features and more.

Start making some noise and let's tell the world that we are here, that we are on the forefront and we are great. —Steve Weiss, Zacuto equipment sales & rentals

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My gut feeling is that tooting our own horn is frowned on by many people in the Midwest. Modesty is a Midwestern strength and weakness. We have great values and prefer to let others toot our horns.

Unfortunately, the reality is that most successful people either toot their own horns or have someone do it for them. We need to learn that there is no shame in tooting our own horn. In fact, it's required to get the word out on our successes and talent.

So, come on everyone -- don't just toot. Scream! —Drew Turner, Aesop Pictures, LLC

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In response to the 04/25/08 article
Executive director being sought to replace Kartemquin's co-founder Gordon Quinn:

Best wishes to both Gordon and Kartemquin. May new endeavors be as rewarding and creative as the ones that made you great! —Melinda Perrin

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In response to the 04/25/08 article
The Wachowskis’ new North Side post/FX facility should focus favorable attention on local scene:

I welcome the Wachowskis back to Chicago with open arms.

Even as partner/editor in a post house myself, I don't worry about their return as a threat of competition (though I do plan to compete).

I hope they open their doors to offer services to the Chicago production community and employment to Chicago's talent base PLUS import clients and talent from the coasts. I think that could really help boost Chicago production.

We need more "cross pollination" like this in Chicago to be seen nationwide for the talented and healthy production community that we are. —Ed Pickart, Motion Post, Forest Park, IL

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In response to the 04/23/08 article
Liz Tate and Jim Annerino's ‘leaner, flexible’ Hootenanny post boutique opens at 211 E. Grand:

Good luck, Liz and Jim. I'm sure you will be a big success. —Terry Kaney

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In response to the 04/11/08 article
Vanessa Ament responds to DePaul faculty action:

In response to A Working Stiff I have this to say:

I am quite familiar with unemployment. I have been unemployed for a year now.

I am quite familiar with going from job to job. I am from the film industry. We are always looking for work.

I am quite familiar with paying one's way through college. I paid my own way through a BA and an M.Div.

At one point in my life, I cleaned houses for a living.

There are many things about this situation that you probably do not understand, so I can see why you might think I was being elitist. I am not.

I was simply pointing out that an innocent person, much like the innocent students in Digital Cinema, often do not have a voice about decisions others make that affect their lives.

Thank you for your perspective. —Vanessa Ament

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I'm not a Depaul student, and never was. I am in the film industry, but never went to film school. Frankly, I think it's a lot of money to spend to get a degree in film. A business where it is so damn hard to get a job, let alone make a living, as a studio exec, director, screenwriter, animator, prop man, grip, gaffer, union set painter and even a PA on a studio film.

But with that said, I think it's crazy to fire/let go two people who have really been there and worked on some of the biggest films in the last 20 years. That just seems nuts.

They say those who can't do - teach, and those who can't teach - teach gym.

Those two guys seemed to be the exception. —LA Calling...

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Working Stiff's lack of familiarity with typical employment methods found in academia is not a matter for concern, nor is his broken empathy gene. Clearly, he's never had his benefits summarily terminated (like medical benefits that usually extend to the end of the month of termination being cut off on the day after being let go [e.g. on the 3rd day of the month]).

Still, it is peculiar that this would somehow escalate past Dean Miller to Father Holtschneider, president of the University (unless Dean Miller was part of the 'gang'), especially without these two not being somehow informed beforehand that some matter was being escalated. Sadly, however, this isn't the first time I've heard of matters from CTI making their way to the president's office.

The processes of academia notwithstanding, Ms. Ament, Mr. Stone and Mr. Kleinman certainly deserved better than they appear to have received, whether they were teaching Cinema, or Mathematics. —Name Withheld until Father's Day (graduation), DePaul University

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Have a strong feeling all 9 were not in agreement, but I suspect the fact that CTI has failed to stick most of them in the tenure track means it was a 'step-in-line-or-else' at the meeting bullied by the Matt'n'Gary contingent. —Name Withheld, DC student

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To "Working Stiff": People don't get University jobs on short notice, which is why it is customary and decent for schools to ease professors out with some time to restructure their lives.

W.T.F. is DePaul doing? We still have not heard if these guys did something so wrong that it would force the school to remove them so suddenly and without stating a reason.

Your response to Prof. Ament's comments are just cruel.

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De Paul faculty is known for their academics. De Paul faculty is know for teaching about 20 years behind the curve. De Paul faculty (except for a very few)is known for their lack of knowing anything about the world today. An advertising professor was teaching pica and inches long after the newspapers accepted SAUs.

It's a great recommendation to be dropped for teaching matertials that would educate and train students to get a job. —A former part-time De Paul instructor also dumped

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It continues to be suspicious that all three of these professors were fired, instead of just one or two of them, you know? It seems awfully convenient to people who may have not liked them, or may have felt threatened by them. I hope more people realize this.

I hope things work out with your son, Vanessa. —A DC student wishing he had gone to Columbia

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I feel for anyone that loses their job, but hey get real. Most people walk in one day and find out they're unemployed, pack their things and head to the unemployment office. I think three months notice is more than reasonable. As for your son, most people pay for college; they don't get a free ride. Welcome back to the real world. —A Working Stiff

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In response to the 04/11/08 article
Telly awards for DeLong and Horstman’s stock car web series and Hallmark Channel segments:

Congrats, Michelle! —Mitchell Logan, www.chicagomediastudios.com

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In response to the 04/10/08 article
At long last, the Senate passes the tax incentives bill sans the talk show inclusion:

Great news from the state where seldom is heard an encouraging word and the skies are mostly cloudy all day!

The Midwest needed a pick-me up with our Film business. Good news from Illinois, Wisconsin and who'd have imagined Michigan with 40%.

Roll 'em! —Dave Masak, Brandy Brook Productions Inc.

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Mark Hogan characterized 2007 as a "blockbuster" year. If so why do we need to give the media corporations access to our state treasury. Has anyone penciled this out to be sure it's not revenue negative? And if it is, which programs would be cut to pay for the subsidies? —Brad Swift, MTV

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In response to the 04/09/08 article
Unexplained motives remain in the aftermath of the firing of two DePaul Digital Cinema teachers:

I am writing this in response to your story entitled "DePaul Digital Cinema abruptly fires two star professors recruited from Hollywood."

I am a Professor at DePaul University, School of CTI. I'd like to express my appreciation for publishing this story and providing a forum for DC students to express their opinions.

Many of my colleagues and I greatly value the contributions Dave Stone and Lou Kleinman have made to the DC program over the past several years. We are deeply troubled by the events surrounding the non-renewal of their contracts, and saddened by their departure.

We share the concerns regarding the quality and future of the DC program expressed by the DC students and graduates in your forum. —Xiaoping Jia, Ph.D.Professor, Software Engineering, School of CTI, DePaul University

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Matt Irvine is one of the best professors I have had at DePaul. He's been there when I needed him and he has taught me more than any person I have met.

This smearing of Matt is garbage and unbelievable. You talk to any student currently in the program and they'll say the same thing.

I think this is all sour grapes which started when a certain adjunct decided to launch a campaign against the Digital Cinema faculty and Dean Miller last year. I think she's still doing this and it is only hurting the students. Move on with your lives people. DePaul is a great place to be a film student, with or without Stone or Kleinman. Mark B. Junior Digital Cinema —Mark B., DePaul University

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Dean David Miller sent a statement out to the students whitewashing this situation by addressing the program in general. Are you kidding me?

Do you honestly think this is about how much equipment you are going to buy? Or about how you believe in this program?

Stop with the damage control already.

This is about leadership and the disregard of the students. Wake up Dean Miller. You have a serious problem here! —DC student who is tired of the lies.

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Due to these firings, it'll be much more difficult for DePaul to ever again hire Hollywood A-listers, (or any industry people for that matter) such as Stone and Kleinman.

The word is out at the major film schools now: don't work for Digital Cinema, because the better you are, the more established you are, the more awards and notoriety you have, well, none of those accolades matter because eventually you will get screwed by the powers-that-be.

My film friends at USC, UCLA and Columbia College knew about the firings soon after they happened.

Hollywood is a small world and film academia is even smaller. DePaul's "Prestigious" rep has been soiled. 'Tis a real shame. —Anastasia Beeverhausen

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I'm actually excited that this CDM thing is happening. It was stupid to have a film program in a Computer Science school. Plus, and people may flame me for this, I really like the current teachers I have in Digital Cinema.

Dana is awesome at teaching editing. Professor Eltanal taught me a ton about directing. And Matt is the best Screenwriting teacher I've ever had, sorry Gary. I also trust the Digital Cinema faculty know what they're doing by supporting Miller in this move.

Can we all just get on with our lives now? —Jim D. (senior DC major), Digital Cinema

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I was raised and got my start in feature films working on set in Chicago, before moving to Los Angeles to pursue my film career.

I have worked with Dave Stone. He is a talented professional. He also has a very easy-going and diplomatic personality, so I was shocked to hear of his dismissal along with Lou Kleinman and previously Vanessa Ament.

I don't know anything about the internal workings at DePaul or who most of the instructors are, but I doubt if few, or any for that matter, have professional qualifications to match the three dismissed professors.

Go to imdb.com and look up any of the three and you will find a long list of credits. Then look up Matt Irvine or some of the other film teachers for a comparison. Are they threatened by their lack of real world experience?

If DePaul hopes to train its students to compete in the highly competitive film industry against schools such as USC, UCLA, NYU and even Columbia, the university needs to hire the big guns and put aside what looks to an outsider as petty professional jealousies.

Otherwise, I'd suggest students who seriously want to study film, use their tuition elsewhere. —Mary Ann Skweres, Hollywood Dell Digital Studios

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As I have my own questions about the firings of the two professors, I, a Digital Cinema freshman, will remain at DePaul.

Do I believe I am wasting my money here? No. Far from it. If you can tell me USC, NYU, or even Columbia lets freshman check out the vast amount of equipment I have checked out while attending DePaul, then I will make my transfer.

I do not know any film school that lets you get as hands on as DePaul does. (However, freshman classes aren't heavy in production. You get what you squeeze out of your years here, you need to make the experience).

I believe a lot of students do not realize DePaul is a film school that is waiting to blow up. We do not have to live behind the fame of NYU and Spike Lee or whoever else has came out of there. We can make our own name and that is refreshing to me.

I hope DePaul does figure out what is going on with this program, but until then, I tell myself, "good film can be made anywhere." I believe DePaul is still a good place for it. —Mac Eldridge

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I was a former DePaul student and part of the program that gave birth to the cinema school. I appreciated the entire faculty I had, but one of my complaints was that there were no professors that had well established experience from the film industry.

After I graduated and heard about the David Stone and Lou Kleinman joining the school, I was glad that future DePaul students would have a chance to study under veterans. There's always a place for theory and practice.

I hope the school will give a reason for their decisions because as of now, all I see are negative assumptions placed upon the remaining faculty members. Is it budget or just plain jealously?

When I graduated, some of my classmates went on to work in game and film industries. If they continue to gain success in their professions and one day decides to teach (at DePaul), you would not want them to remember the "controversial decision to dismiss two highly praised professors." —Bluish Demon, My Company Inc.

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Put all the spin on it that you want, but the student reaction didn't come from nowhere. This has been brewing, and it didn't begin when an adjunct got upset and turned students into anti-DC minions.

I would hope that the condescension involved in saying that these students don't know what they're talking about could be avoided, as it will only anger the students more and make those accusing the students of having "wrong opinions" look manipulative. —Still anonymous

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If the leadership and stability of Digital Cinema was so solid, why would it cause such an outcry from students when things are simply "rearranged?" Isn't that an indicator of a much larger issue? —DePaul alum

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Anybody who doesn't find this situation suspicious needs to get their heads checked. They bring in these heavy-hitter professors to lots of fanfare, and then they're let go without a reason, not even let go in standard fashion, just kicked out the door when they have a full plate of classes on their hands. Really? People find this normal?

I wish people would stop believing whatever a smiling face tells them about the way things are. The fact that these three wonderful people have far more experience than most other DC professors, and that they were let go in such a backhanded kick-in-the-nads fashion, should be reason enough to be suspicious about this situation.

I'm not going to stop being angry just because the administration as a whole won't talk about it. I'm not going to be another sheep. I question things. I don't just accept what is told to me off the bat.

Maybe if some of you had more classes with them you'd understand. —A yet to be brainwashed Digital Cinema student

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I really hope this academic department and DePaul solve this apparent identity crisis. The tuition is high and students want to know what they are buying.

DePaul Digital Cinema still has a great potential, but some intelligent, hard work needs to be done. Stick your egos in a blender; ask some hard questions like:

Is this a feeder school for Hollywood? A program for independent cinema? An art-film program? Technical or aesthetic or both? A computer program? A film school? All of the above? Where are the examples of student and faculty work displayed or exhibited?

Remember this: Creative people are busy people. They stay up all night. Work hard. They don't just fight over politics, they make things.

They rise above. —DC student

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The "year-to-year" contracts are from July 1st to July 1st. It isn't that they were 'let go' at the end of their contracts; in essence they were told, "You leave now. We aren't going to honor our contract with you." —Shocked and Saddened by Recent Events, DePaul University

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In response to the 04/04/08 article
What are they talking about? You’re not alone if you don’t understand the digital industry’s jargon:

Our ability to conjure and provide so-called "solutions" has greatly outstripped out clients' abilities to understand those solutions.

This hit me as I was authoring a DVD, which the client insisted had to contain original Word and Reader docs, PowerPoint files, etc.

But it took over a week of explanations for them to figure out how to find them on the DVD. Seems they didn't understand where a "desktop folder" was located! —Mike Janowski, Jaz & Company Electronic Post

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You're right. It's more like a "who's on first, what's on second and I don't know." —BOB BARON, ONE OF THE MANY FINE CHICAGO ACTORS.

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In response to the 04/03/08 article
Laguna Pictures to put Mindlight's eighth
feature into worldwide distribution this summer:

Please note your caption is incorrect. The actors pictured are Denise Trinidad and Tony Ramirez.

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In response to the 04/02/08 article
DePaul Digital Cinema abruptly fires two star professors recruited from Hollywood:

Very good opening salvo, but something tells me this is only the beginning of the story. Seemingly harmless pustules often harbor deeper and virulent systemic problems, like a wound that won't heel over months a warning of possible diabetes.

I bet the students have something to say, and they should be heard. I've seen these festering pockets of disfunctional ego in other programs at other institutions. It's a waste of time, tuition money,resources and most importantly, the student's education. —Name withheld, Queens College, Queens, New York

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I'm sure Stone and Kleinman will land back on their feet because they are the real deal. It is unfortunate, but the whole thing smack's of jealousy and egos on the side of the academic wannabes.

The William Shakespeare's line, "What fools these mortals be," sums it all up perfectly. —Valeria Stewart, Azure Hollywood Productions

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Stone & Kleinman were the draw which brought most of the grad students to the program. I took a sound design class with Stone, who had on over 120 films over more than 25 years, including Coppola's "Dracula," which won him an Oscar.

You can't put a dollar value on that sort of in-the-trenches insight into Hollywood production values.

Grad students rearranged entire schedules just to take a class with them; their classes added value and were highly rated by students...even moreso than the recent disappointing class in "producing" taught by Steve Jones, which was essentially 10 weeks of first person tales from the set of "Wild Things," "Quebec," and "Henry."

Stone & Kleinman taught skills, crafts, not lectures about celebrity blowjobs.

Without Stone & Kleinman, there are 3 or 4 professors with good resumes and solid film field skills, notably Dana Hodgdon who founded Northwestern's film program, ace cinematographer Scott Erlinder, and screenwriting and visuals prof Ron Eltanal. Stone & Kleinman added much, if not the most value to our degrees.

Grad students who pay $5,000 for each 10-week quarter are the ones losing value in the their education, and the worth in a degree from DePaul, not the egos making decisions that affect them.

Somebody should be held accountable for destroying the pillars holding up the value of the program and its awarded degrees. Let's make sure it does, fellow DC students.

Flashpoint will benefit from our loss if they snatch up these two professors and that's a hit we shouldn't take. —Digital Cinema Grad Student

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Dave was one of the best instructors I have ever taken a class with. It's a shame. —Digital Cinema student

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I had the opportunity to take classes from both of these professors, and it was the highlight of my time here at DePaul as a grad student.

My conversations with Dave, in fact, kept me enrolled when I had serious doubts as to whether I would stay in the program.

Dave has been a huge source of both knowledge and encouragement to me personally, and to everyone who has taken his classes. It is a shame that no one in future semesters at DePaul will benefit the way that I have.

It seems rather obvious what has happened here. DePaul used Dave and Lou's reputation to endlessly promote the legitamacy of the digital cinema program, only to let them go when enrollment numbers reached respectable numbers.

I've lost a lot of respect for this program and certainly will not be pursuing my MFA here. —Digital Cinema Grad Student

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Stone & Kleinman were two of the best professors at DePaul, and for the school to just kick them to the curb without letting the students know or anything is outrageous!

I know both men pretty well and as a graduating Digtal Cinema student I am saddened to know that the new crop of students will be learning without Stone & Kleinman's expertise.

DePaul is making a HUGE mistake to let such amazing professors go! —Senior Digtial Cinema Student

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This is what happens when you let a petty, jealous and misogynistic half-wit (read: Matt Irvine) engage in a pissing contest instead of concentrating on producing competent film makers AND making the DC program on par with the programs at USC, NYU and Columbia College. Dave Stone, Vanessa Ament and Lou Kleinman (and I know there are others who've been let go for ridiculous reasons) are assets to any academic program.

DePaul University should be embarrassed by such crappy and shady behavior. I wouldn't be surprised if the powers-that-be either don't know about this OR they do know but just don't care.

Apparently, all the DePaul administration cares about is the bottom line--not the quality of the education they're providing. —DePaul student

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The classes I've taken with both of these professors have been two of the best and most enlightening in my college career, and as far as I am concerned, it is completely unacceptable for them to be released in this kind of fashion.

I feel very sorry for future generations of student who won't be able to learn under these two amazing men. And I'm sure that the student body, including myself, is not going to remain quiet about this. —Senior Digital Cinema student, DePaul University

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David Stone was the best thing to ever happen to the Digital Cinema program at DePaul. He was one of the few people who truly believed in his students and pushed them to succeed, offering his guidance along the way. —Paul Pater

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This is nothing short of a travesty. Not only were Dave and Lou terrific teachers, they were genuinely two of the kindest, most helpful instructors I've ever had. I don't think I've ever encountered professors who were so willing and eager to aid their students.

It would have been easy to feel intimidated by them (just look at their body of work), but they were sure to make their students feel more like peers and colleagues than anything else.

My faith in this program declined drastically when Vanessa was let go, and this recent development has only added to my doubts. These professors deserve better. —A Disappointed Digital Cinema Student

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I'm glad I had the opportunity to have classes with both wonderful professors, but really saddened by the fact that the flourishing major is now on a rapid downward spiral with the firing of both exceptional professors.

DePaul had something good going for it by having hired Vanessa, Dave, and Lou. Now that they're gone, the Hollywood experiences they can share with students and aspiring filmmakers are gone as well. —DePaul Digital Cinema Alum

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Film education is an interesting topic in itself. The questions, "Is it really worth this all this money to go to film school?", "Is my degree going to be worth anything?", "What am I really learning here that I can't get somewhere else?" are always on the students minds and frequently discussed.

The fact is that teaching the craft of filmmaking is not easy. Many do it and few succeed. I've taken plenty of classes where I wonder where my thousands of dollars are going, because I didn't learn a single thing.

Then there are those classes which are worth it, and change the way you think about and approach your craft.

Dave and Lou's Hollywood credits are invaluable to the worth of our degrees because we can say we learn from the people who really do it, who have had successful careers in this brutal business. But beyond their credits, they knew how to teach. They taught the craft, not just the technology, which is always changing, but the essence of the craft.

DePaul Digital Cinema program has just taking giant leaps back. Let's hope that they take some action to at least get back to where they were. —Digital Cinema Student, DePaul University Digital Cinema

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I have started a petition on Facebook that asks DC seniors, who are also offended by DePaul's move to fire these outstanding professors, to refrain from walking at the commencement ceremony.

Those who are interested in joining the cause, search groups for "DC seniors - boycott graduation" and respectfully do what you can to express your unhappiness. —Jasmine, Digital Cinema Senior

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I can honestly say, as an alum of DePaul who has taken classes with alot of different professors, Vaness Ament and David Stone were my most memorable for their insights.

Film/television is very competitive and the experiences and first hand knowledge gained from these three professors is something that should not be taken for granted.

I hope that this decision was not made on behalf of a few disgruntled administrators or professors because this decision was obviously not made based on what was best for Depaul students. —Toye Adeyemo, DC- 2007

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What set Dave and Lou apart from the rest of the faculty is simple: Passion, for what they do, and passion for who they teach. That's something teachers can't learn; they either have it or not.

I've hated DePaul for a long time, and having people like Dave and Lou made the school a little better. Hopefully Flashpoint does pick these two up. It'd be a terrible thing if Dave and Lou don't continue teaching. —Recently Graduated DC Kid

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Two professors, both with more Hollywood experience than most of the rest of the department combined, who are very helpful and very good at explaining the principles of their respective crafts, and are two of the most pleasant, patient and amiable people I have ever met.

What's the rationale? Why would heads of a department to whom we are giving tons of money do something that is so obviously against our best interests? —Sam, Digital Cinema student

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I thought DC was being moved out of CTI into the new school of communications.

I'd really like to hear an honest and detailed DePaul explanation for this and what will be done to replace these guys this quarter.

Actually I'd like to hear it straight from Father Dennis. —A DePaul parent with a lot invested there

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If the student body had some sort of representation this would never have happened. Now two of the most admired professors are fired. —Digital Cinema sucks

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Mr. Stone and Mr. Kleinman will be sorely missed from DePaul's fledgling program, as they were two of the more credentialed faculty members.

And more's the pity for the remaining few serious craftsmen and women, since their ranks are now likely too few to close against this program's possibly well-intentioned, but definitely self-interested administrator(s).

Dr. Helmut Epp, former CTI Dean, now the university's Provost, certainly isn't this school's 'Joe DiMaggio', but it is doubtful this would have happend on his storied watch.

Because Epp's successor, Dean David Miller, has seen fit to dismiss these two in a manner evincing implications of unlikely misconduct on their parts, one can only hope that the administration will move to repair the damage to these individual's reputations. It can, at least, restore them to their posts for the remainder of the final quarter of the current academic year. —DePaul CTI/DC Undergraduate - Class of 2007

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All I can say is that I have about $17,000 in college loans. When I make my monthly loan payment I can't help think about the education (or lack of)that I received.

Anything I learned in the Digital Cinema department had nothing to do with the instruction I received (with the exception of classes taken with Scott Erlinder and Deborah Tudor;I was a student before Stone and Kleinman started). In fact I would offer what I mostly learned there was what not to do.

If you are a current student in the program and really want to learn about cinema, digital techniques and how to tell stories, I would recommend transferring schools. That, or simply dropping out, buying a camera and watching films by filmmakers whom you respect. You'll save yourself a lot of time and money. Trust me! —DC Alum

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I am not a DC student. I took the courses from Dave and became close to Vanessa. I never met two teachers like Dave and Vanessa in my five years at DePaul. They had more passion, intelligence, competence, and caring in their pinkies than all the other professors combined.

They will be sorely missed and I hope for them that they find another and better university to teach at so they can to continue to pass this on to future students.

DePaul: You need a lesson in actually listening and observing your students. You need to get your over-sized heads out of your over-sized asses. I am amazed at how we are the happiest school in the nation, especially when you continually pull crap like this.

Shame on you. —Nicole, DePaul Communications student and former DC fan.

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I've had classes and worked closely with both of these professors. Their history in the industry made them some of the best mentors the program had to offer.

I cannot understand DePaul's logic, unless they are thinking about terminating the program. Which would be very sad for all involved. —Former DC Student, Cutters

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I understand Ned Miller's concern about assassinating someone's character anonymously.

However, one might take into consideration the repercussions a student might experience when taking the risk to comment on the very people responsible for their grades and degree.

It appears that there are more than just a few students that are upset by this event. What is really going on in this film program at DePaul? —Film Fan

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Amazingly, every post on this page seems to say the same thing, and I agree with all of it. I worked really closely with Dave, and now owe a professional career in audio to him.

This whole fiasco just really shows how the DC program works. Their website touts "state-of-the-art equipment... a faculty of experienced professionals". Well, you don't get either of those.

Sure, Dana, Scott, and Ron know what they're doing- Kim and Gary can teach screenwriting, Rob knows film sound. But how is DePaul justifying $30,000 tuition to learn what can basically be learned by watching DVDs?

They need to spend less money on flat panel HDTVs that don't get used, and more money on gear and knowledgeable, experienced, and personable professors. —Dave, DC Grad '07

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RE: Ned Miller's comment. Perhaps Dean Miller and Matt Irvine should come out from behind the cloak of the "No comment" DePaul spin machine and truthfully explain their actions to the DePaul community. Everyone deserves to know the truth.

These comments aren't the products of students bitter over poor grades. Give 'em more credit--these are bright, savvy kids.

Also, the use of anonymity makes sense since the DC powers-that-be allegedly tend to quash those who disagree with them. What student needs to deal with that kind of petty behavior when trying to work hard and get good grades? —Name witheld--hey, it's my CHOICE.

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With the absence of Lou and Dave, the entire program is now based on doing your own thing with little regard to industry practices.

It's a shame to go this route due to the fact that only an elite few will make it on their own independently, while the rest will fall to the wayside with a worthless degree. It's even worse for the students currently in the program who will lose the vast amount of industry internship/job hookups that Dave and Lou brought.

While no one seems to have the whole story on this, it's tough to make any judgment calls on it. It's fairly obvious, though, that DePaul's priorities are no longer on their students, but the wallets of the few. —Anonymous Digital Cinema Grad Student, DePaul University

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I have a question: Who is this guy - CTI Dean David Miller (never met him, never seen him - HAVE YOU?)??

And why would he or anyone else destroy the program's reputation with a tragic firing decision like this??

HOW MUCH ARE WE PAYING THIS GUY (more than Stone & Kleinman - because they are nationally renown in their industry) .... AND WHAT DOES HE ADD TO OUR PROGRAM EXACTLY??

Is he a computer whiz and top administrator? Did we elect him at some point to make HR choices?? Can we recall him like a California governor??

Maybe someone should inform him, or whomever made these faculty decisions, that some things can't be equated in a single cell of an Excel spreadsheet. It's called talent, reputration, a passion for teaching. Oh yeah, don't forget a resume of films longer than your arm.

Thank you for reporting the truth, Ruth Ratny. It seems that DePaul can only email us when they are raising our tuition rates. —Dan Page - 2nd Year DC Grad Student, D.Page Media

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David Stone was the best thing to ever happen to the Digital Cinema program at DePaul. He was one of the few people who truly believed in his students and pushed them to succeed, offering his guidance along the way. —Paul Pater

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There goes the program. I hope NYU treats its star faculty better. —DePaul(?) Undergrad

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I'm glad I was able to attend DePaul while Dave, Lou and Vanessa were there. They served as great mentors. I would not be the person I am today without all three of them (and, of course, SOME of the other DC faculty).

Having such a diverse faculty served as a great foundation to my filmmaking. Suffice to say, DePaul University has made a grave mistake.

To the Digital Cinema students who take their education seriously, consider changing majors or schools. —Mia Hernandez, DePaul University Digital Cinema Graduate

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Digital Cinema wants to be “the number one cinema/ television/computer gaming program in the Midwest… then number one in the nation, according to the program’s director Matthew Irvine"?

Oh please. The DC program is still learning how to be a film school, and it is still a long way from learning. As long as Matt Irvine is the "head" of the program it'll never reach its full potential.

The fact that they fired two of their best faculty says it all. Dave Stone is not only a magnificent professor, and talented editor, but he is also the nicest guy in the world, generous, honest and friendly.

I feel sorry for future students. They'll still have Scott Erlinder, but he's under-appreciated by Miller and Irvine, so he might be inclined to move on to greener pastures. —Graduating Senior, DePaul Digital Cinema

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Part of me still has a hard time believing any of this his happening.

By the end of my sophomore year, I was considering switching out of the Digital Cinema program. I had many bad experiences with professors, the program was disjointed, I learned the same damn things over and over again in subsequent classes... The thing that kept me in, however, was discovering wonderful instructors like Dave, Vanessa and Lou -- smart, warm and caring. For the first time in college, I felt that the person talking to us wasn't just some moron who had happened to see a few movies before, but somebody who actually knew what they were talking about, who was passionate about their craft, and couldn't help but spread that passion to their students. It was contagious.

That is why I can hardly believe that this has happened. It does not feel good to be a senior in a program run by an egotistical moron. Nor does it feel good knowing that I have a pretty hefty amount of student loans to pay for a degree that really isn't worth that much.

I've never been the best student, I know this. But I think I have a right to be angry, pissed off, personally offended. If you are too, spread the word. —Peter, a Digital Cinema Daycare senior

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David Stone and Lou Kleinman WERE DePaul Digital Cinema program. They are arguably the BEST instructors in the program.

They were not only teachers with whom students enjoyed having courses, but craftsmen of the art in their respective fields. The program is turning into a joke now and am heavily considering transferring.

Prediction: RIP DePaul Digital Cinema Program coming to a theater near you. Hope you come to your senses and any respect Scott, Dana and Ron left at the helm. Don't get rid of them next too. —Soon to transfer GRAD DC Student

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Never before have I had instructors who cared about their students as much as Dave, Vanessa and Lou. They didn't just care about us as students, they cared about us as people. They truly and honestly give a damn.

That is something that is hard to come by, and something Matt will wish he had not thrown away so foolishly. —Peter, a Digital Cinema Daycare senior

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I was a student at DePaul when it was ranked the happiest school in the nation. That year, DePaul sent out a memo saying they were excited about being the happiest, but that they actually wanted to be more prestigious.

So that year, many of the fun and exciting things that set DePaul apart from other universities were taken away.

I have a feeling the same is again true for these professors. Although they didn't focus on tests and spending all day reading a book, they taught real world experience by giving hands on lectures and allowing the student's work to speak for itself as far as showing what they have learned.

In the article, there is a sentence that says DePaul wants to be the best program in the midwest and eventually the nation. With these moves, it seems they are moving in the wrong direction.

If the university tries to use budget concerns as a reason for the dismissals, I can only hope someone brings up the white tiger farm in Ohio that DePaul donates 3 million dollars a year to. —DePaul Digital Cinema Grad

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I don't know what to say. The news isnt all that shocking, but it is difficult to understand. I, for one, can't imagine my four years at DePaul with out these professors. For DePaul and all of its students, their loss is monumental. —Jack

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I am an alumna from the 2006 Digital Cinema class, and have been working in the film world since graduation.

While in the program, I made strides in advancing my career, because of my involvement in the Chicago film community (particularly with Women in Film) -- not because of any guidance or encouragement I received from the full time faculty, although many were helpful.

When Dave Stone arrived, I was thrilled to see a teacher in the program with high credentials (substantially higher than the rest of the full-time faculty, maybe higher than all of their credentials combined) and was also a caring teacher who wanted to his students succeed.

That Dave, Vanessa and Lou were shoved out of the program is scandalous and egregious, and certainly points directly to the integrity of the faculty and Dean Miller. Something is rotten in Denmark.

I also commend the students who are choosing to raise their voices and protest while still enrolled in the program. Your tuition money counts, and so should your voice.

This is just the tip of the iceberg, folks. Two years out and I'm still mad. —Female DC grad, the few, the proud, the ignored.

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David Stone helped me learn a lot about film and television and opened the door for me into the television world. It's sad to hear DePaul doesn't care about experience or credibility. —Jose Gonzalez, Univision

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Apparently the search for the Facebook group doesn't bring up the group, so here is a direct link to it: www.facebook.com/group.php? gid=10370947659.

Though some of my fellow DC students think a decision not to walk is a bit extreme, I remind them of the situation at hand. The school took extreme measures to bring Lou and Dave (and Vanessa) here and now they've taken extreme measures to remove them. I encourage DC Grad students to transfer and those who have yet to start the program to drop out. Money talks. —Jasmine, Digital Cinema Senior

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If current DePaul DC students really wish to protect the value of their expensive educations, they need to petition the dean to fire Matt Irvine.

His behavior is not only reprehensible, but a serious offense against the Vincentian principals touted by DePaul. —A CTI MS graduate

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Unless there is some incredibly good reason behind the firing of these two phenomenal teachers, I can see no other avenue except to critcize the CTI administration's choice to terminate them.

Both had a distinctly unique style of teaching that was extremely effective at getting students to relate to the material from alternative angles -- something not usually taught by other teachers.

I also enjoyed hearing stories of their experience in the real world of filmmaking. —Digital Cinema student

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I took classes with Dave and Lou. Doesn't Dave Stone have like the most or longest list of credentials on IMDB? How can you fire one of the most cited professionals on the IMDB website? I mean. he has worked on the same amount of movies as people like Tom Cruise, Samuel Jackson and Julia Roberts.

I've spoken with Dave one-on-one and he knows so many actors, actresses and directors in Hollywood. He is the only person who has told me he's met Chevy Chase. Chevy Chase!

That's crazy. If I never met Stone, I would have never gone to film school. —Confused

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DC ADMINISTRATION: Please articulate your goals for the program, your plans for achieving it and a sincere explanation for firing what were obviously successful professors. All in favor say "Aye." —Sick to my stomach with knee-deep debt

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I was not lucky enough to take any classes with Stone, Kleinman and Ament (I graduated before their time). I have to say that, with the exception of classes taken with Scott Erlinder and Deborah Tudor, all I learned from the Digital Cinema program was what not to do.

I found the program to be quite misogynistic and not worth the $17,000 I now have in college loans.

My advice to any current DC student is to either transfer schools or better yet - drop out, buy yourself an HVX, watch/read about directors you respect and make your own movies.

Either way, you'll save yourself frustration and money. Also, you won't feel like an idiot for the rest of your life when folks ask you where you went to school and what you studied,and you have to sheepishly answer : DePaul's Digital Cinema program. —DC Alum

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I know these guys were good teachers... probably the best. And I understand why you would be upset, and I fully support your voicing that.

As a neutral party, I just want to play the devil's advocate and remind you that there might be a genuinely good reason for their dismissal.

I bet it was hard for CTI to let these professors go. But the reason they won't tell you why is for the protection of Dave and Lou's rights, and it's the law that DePaul can't tell you. Ask them if you really want an honest answer! —Student playing Devil's Advocate

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I believe not walking at graduation is a stupid way to voice your unhappyness.

If you really want to make a statement, GO to graduation. Organize some sort of protest while there. Get your speaker to refer to them. Get everyone to standup at a certain time to protest their release.

Do something extreme!

You've given them your money already. Not going to graduation just puts you out of their minds faster. Be there to make that difference. —Going to graduation and proud of it

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I have to say that I never learned a thing from Lou or Dave. I took both of their intro classes and all I got was Hollywood war stories. I came to DePaul to learn how to make movies, not to hear a bunch of name-dropping and other junk in class.

I can honestly say I learned less in both of their courses than any other course I’ve had at DePaul, and that includes the Wine Tasting class.

I'm actually learning a lot from the "non-Hollywood" faculty. Dana, Gary, Matt, Scott, JoAnne, etc. I think they’re all great and I totally support what they are doing with the program.

I think most of these posts are nothing more than sour grapes. —Peter S., Junior DC

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The Digital Cinema school (which I attended for a minor in DC) is doing its best to drive itself into the ground as fast as possible, and it looks to be succeeding.

By losing likely the two most talented and respected professors it had, this program has turned itself into a very expensive waste of time.

But hey, the only people who get hurt in this deal are the ones paying $30,000 to be there each year. —Used to be a Student

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Digital Cinema? DePaul? You mean HIgh School Video Department Makes it to College?!

HAHAHA!

Dave and Lou will make it on their feet again. But the DePaul "program" is a joke. —Former DePaul Grad Student

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While at DePaul’s Digital Cinema Program, I had the distinct pleasure to learn from every faction of the faculty that is currently involved in this debacle. As I am sure many you can relate, I spent the better part of my senior year watching the faculty fight it out amongst themselves.

I remember feeling angry and confused, hoping that the situation would resolve itself. However, midway through my senior year, after the abrupt dismissal of Vanessa, I realized that my naivety had deceived me.

My point is, all these teachers made an excellent team (even though they never saw that). Matt, Gary, Dana, and Ron represented the independent film movement (even though they had fostered the careers of many Hollywood success stories), while Dave, Lou and Vanessa constituted the old Hollywood establishment.

Each group gave valuable insight into two very different aspects of the entertainment industry. And now that they are gone, the program will only suffer in their absence.

This message is not meant to bash, discredit, or embarrass any of the current or past faculty members of the Digital Cinema Program, rather it is my message of disappointment.

Digital Cinema could have been the premiere film program in the Midwest. Yet, in light of resent events, I believe egos, personal vendettas, and poor communication amongst its faculty members will forever keep it in obscurity.

However, I still have hope that I will be proven wrong and that Matt and crew will continue to teach and nurture young and impressionable minds into the next generation of successful Chicago or Hollywood filmmakers.

As for Dave, Vanessa, and Lou, I know they will flourish in the business or academic world, as they always have. —Art , Disney ABC/CBS’s Ghost Whisperer, Universal City, CA

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I just heard about this news from a former classmate of mine and I have to say I am completely outraged. The highlights of my four years at DePaul were the classes I took from David Stone, Vanessa Ament, Scott Erlinder, and Ron Eltanal.

As a female in a predominantly male industry, Vanessa gave me inspiration and gave all females in the Digital Cinema program the encouragement that they too can succeed. Her loss alone was a huge blow to the program.

David is the nicest, most down-to-earth professor I have ever had. His credentials alone are intimidating. I was expecting to meet someone with a huge ego, but instead found a soft spoken guy who related to all his students. He taught so much more than what was in a textbook; he was able to ignite a flame in every student he taught.

When I think back on my four years at DePaul, I can't help but be grateful for the privilege of studying under professors like David and Vanessa. I sincerely hope that they continue teaching future generations of filmmakers. —Elisa Sweet, TMK Productions

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Insiders' film school reviews about the same program are always contradictory and based on a variety of agendas (some of them consciously misguiding). Sometimes, different people have the same opinion about something or somebody.

Yet some of them have a noble purpose and stick to their standards of "neutrality" while others just try to hurt without thinking.

I don't know ANYTHING about this whole turmoil and I don't even know most of the people involved in the controversy, but I am concerned about the tone of some of these comments. p>If an institution has consistently positive press it freaks me out, since by definition that constitutes totalitarianism. (I was born in what was still a fascist country. Of course, there was only positive press about the establishment, e.g. universities.)

Every film school in this country has, or has had, all kinds of ratings. Ultimately if you're good, and you can prove it, nobody cares where you got your expensive piece of paper.

The same thing applies when you are not good. You can make all the excuses you want and blame whomever you want, the current climate at your school, your professors, etc...nobody cares. The bottom line is "do you know your shit?"

I've been reading the following Library of Annotated Film Schools for a couple of years and I don't think I've found ONE school with 100% consistent reviews.

If you check this out you might find that some of the schools that are being brought up as "so much better" also have their share of poor ratings: http://filmmaker.com/LOAFS —Montse De Frutos

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I find it odd that Mr. Ned Miller is primarily concerned with defending someone I assume he does not know, and throws suspicion so quickly back at the students rather than address the original issue.

It has been my experience that people express anger in an arena where they feel safe. Anonymity is a typical way of commenting on the internet; it allows people to say what they really think.

Perhaps there is a genuine reason for them to be upset, and they have not felt safe expressing it at DePaul.

My question would be: What is going on in this film program to provoke such responses? Why do they cite one or two particular individuals repeatedly?

That is a risk for them. I doubt they would take it capriciously. —DePaul Communications Student '09

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In response to the criticism of our need for anonymity, if two critically acclaimed and highly valued professors (by the students at least) can be fired for their thoughts, and the same people that fired them are still in their positions of (too-much) authority, our thoughts also leave us in danger of unfair repercussions.

This is not the world where those paying tuition hold the power, and that is the underlying issue that greatly needs to be addressed. —DC Senior

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I took two Sound Design classes from the wonderful teacher David Stone. I was really shocked that someone of his talent and background would bother to teach anybody, let alone students in this Midwestern hog-butcher town.

I saw him leave the building the other day, and the way he looked I thought something bad had happened. I wanted to say good-bye and thank-you. (Thanks, David Stone)

I was looking forward to studying editing this semester from Lou Kleinman.

It's a shame and a great loss for DePaul DC students. —Renay Kerkman

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I was fortunate enough to have been taught by Dave Stone and Vanessa Ament. I know that besides the extra effort on my own part ... I received the majority of my education from those professors. I must also include Scott Erlinder.

The three of them were my motivation to progress as a filmmaker. I had much more respect for these people... because they were the only professors that had SUCCESS AND EXPERIENCE IN THE BUSINESS.

The difference between Vanessa, Dave, Lou and Scott was that they had passion for what they do. They took a selfless approach to teaching at DePaul. There was not any more proving what they had to do. They wanted to give back to the students, to spread the passion on.

I strongly advise students to transfer to another film academia or consider a new profession. —Brian Romano, Independent Contractor-Freelance

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In response to the 03/31/08 article
Revenues from Illinois film, TV, spot production
hit all-time record high of $155 million in 2007:

This is great! Now, here's another idea: How about each business that benefited from Hollywood productions get an additional tax break when they invest some of their earnings back into Illinois independent films.

For example, businesses that benefited from this could invested $100 for every $1000 earned in the form of cash or equipment rental to an upcoming independent film project. That's just 1%.

That way, we can promote the growth of filmmakers who are attempting to create 100% of the product right here in Illinois and not rely as much on L.A.'s business. One percent of $155MM is $1.5MM towards film in our own state!

Of course, those investors could participate in any profits that came about. This is the same concept as when companies invest in their own R&D. Just a thought. —Drew Turner, Aesop Pictures

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In response to the 03/27/08 article
New York's Abel Cine acquires Fletcher Chicago's camera sales division; will open local branch:

It will take a day or two for my new office line and email address to become active. In the meantime, my office line at Fletcher will remain active for a few months (312-932-2712) as well as my email address there (kari@fletch.com).

Please feel free to contact me anytime! —Kari Hess, Abel Cine Tech - Production Sales, Midwest Region

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In response to the 03/24/08 article
Talk shows will have a voice in the tax credit when the House votes its passage the first week of April:

What is the Bill Number so that we can call our Illinois senators and reps to let them know we want this bill? —Jim H, on-camera performer for 20+ years

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In response to the 03/24/08 article
Post guru Mike Fayette tells why Avid still will dominate the post field, despite drastic changes:

Whether Apple sells off FCP remains to be seen, but large companies, like NBC are investing in the product. It’s incredibly economical and powerful. Also how many high school and college students are learning to edit with FCP? Lots—so Avid key stroke memory will never be an issue with them. I have cut on both but really like FCP. It has a simple, easy to understand media management system that doesn't take an engineer to maintain.

I would not be in this business today if it were not for FCP. I am more productive than ever, being able to write and edit. Reminds me of the saying “Give a man a fish he eats for a day. Give a man a net he eats for a lifetime” FCP has created many opportunities for those of us who would have otherwise been out of this business. If FCP goes away, I’ll learn new key strokes and be thankful FCP came into my life!! —Mark Cassidy, NBC

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Very interesting insights, Mike. Great to see you’re still involved in the business.

I have long wondered why Apple developed FCP and what would happen if/when they divested it. My personal opinion is that there is indeed enough of a market for FCP that a third party will purchase it, and further develop it to remain a robust competitor to Avid. However... I’m going to hold off my planned conversion to FCP, at least for now. —Mark Klocksin, Schneider Electric

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Mike Fayette’s visionary grasp of a business he grew up with is astonishing. Why this man is not on the board of every major corporation in America astounds me. He succumbs to direction and newness beyond the ordinary entrepeneur.

His segue from Post Effects has certainly provided him with a new grasp on today’s challenging formats. If anyone can understand them it’s Mike Fayette. Thanks for your incisive and plain speaking explantion. —Vince Kamin, Vincent Kamin & Associates

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Interesting article, Mike. I will indeed mourn the loss of FCP if it gets sold off, since that's our company's primary editing software and we're not big Avid/Digidesign fans.

I am curious to see what will happen to this industry with the ever-increasing popularity of online subscription-based services. Adobe has already announced that they are making a Web-based versions of Premiere and Photoshop, and Maximum Throughput has unveiled their Web-based HD editing service at NAB as well. More changes, more things to learn... —Tim Frick, Mightybytes, Inc.

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In response to the 01/11/08 article
House passes Illinois Film Tax Credit extension, now en route through the Senate for final vote:

I have always heard that John Dillinger stayed at the Red Gables Hotel at the Methodist Camp Ground near Des Plaines.

This hotel is a national historic landmark (not for the above) and has been preserved as it was in the 1920s and 30s (check out the second floor). Too bad the film couldn't have been filmed there. —David Pirie, Resident , Methodist Camp Ground.

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In response to the 10/15/07 article
Frank Vincent stars in “Chicago Overcoat” by recent Columbia grads of Beverly Ridge Pictures:

Very sad to read the comments of Mr. Sal Amato about how "proud" he was to work on "Chicago Overcoat."

Chicago actor Robert Townsend was so sickened by having to play African American caricatures over and over again that he made a comedy spoof about it: "Hollywood Shuffle" (1987).

And 20 years later, thanks to Townsend's courage, African American performers are reaping the benefits, playing intelligent, complex and even heroic roles, from Will Smith on down.

Italians have been on the American continent for nearly 500 years, coming in larger numbers from 1850 onward. Yet here we are, after having "made it" in America, being rewarded by movies featuring Italian men as criminally inclined..in film after film after film after film after film.

Is Mr. Amato really "proud" of that?

How do these gangster roles in "Chicago Overcoat" reflect the true diversity of the Italian experience...as evidence by the fact that someone named "Amato" is actually employed as a technician on a film? Unless, of course, a mobster uncle of Amato's forced the filmmakers to hire him. Is that the case?

If it isn't, perhaps Mr. Amato and other Italian Americans ought to take a long, hard look at what they're doing. They are encouraging the degradation of Italian American subject matter in the movies, turning our long, fascinating history into one endless mob joke.

Please visit this educational website: www.stereotypethis.com

And as for the write-up that Vincent is playing a "different" kind of mob guy: Per favore! (Please!) That's a bit like saying that a Frito Bandito character is going to wear a nice suit instead of pancho.

Please end this charade. —Bill Dal Cerro, Italic Institute of America

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In response to the 02/01/07 article
Susana DeSantiago celebrates first anniversary as owner of former Salazar & Navas talent agency:

Susie, you are doing great. I know you worked hard on putting together calender for Amco Auto Insurance, Texas a couple of years back. Since then, you have put in lot of efforts and talents. Keep it up, good luck. —Jay Kajani, Amco Auto Insurance

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