Is film really better than digital? Or vice versa? Following the news that Steven Spielberg is allegedly to blame for the slow rollout of digital projectors into cinemas, I've been thinking about the questions all week. And I have no idea. But not because siding with Spielberg, just because he's Spielberg, is difficult when he suddenly announces a new digital 3-D project (Ghost and the Shell) he'll be producing. The reality is that I'm not technologically informed enough and, more importantly, my eyesight isn't good enough for me to really make the distinction anymore.

That isn't to say I can't tell if I'm watching film or digital. I definitely can. Especially when it's digital 3-D, or when it's an incorrectly projected HD copy of The Wackness, which looks very crisp but also very dark (for the purpose of this week's column, it's not important to point a finger at the cinema responsible). What I can't tell is which format is better. And I mean better in a sort of ideological mixed with functionality context. If just going by ideals, I have to keep pledging allegiance to film, but perhaps only as a traditionalist. Yet if going by functionality, I have to swear by digital, from DVD to DLP to 4K to whatever (again, I just can't keep up tech-wise), but perhaps only as a futurist.

I've accumulated a huge backlog of questions in the few weeks I've been doing The Write Stuff. Today, I open up the old mailbag and start dishing out some answers.

Jen asks:

Looking forward to reading the column! Here are a couple of topics about which I'd be interested in hearing your thoughts:

-screenwriting/film school and how useful and necessary it is
-writing for TV versus the big screen, and the pros and cons

To answer your first question, the value of film school sort of depends on the individual. I majored in Film Production and took some screenwriting classes. The screenwriting classes were incredibly useful, and are a great way to find out if writing is something you really want to do and can do well. If I had gotten crappy grades on my scripts, I'd probably be doing something else right now. As for my Film Production major, I haven't used the knowledge I gained there much, but should I ever want to make the leap to directing, you better believe those skills will come in handy. I can tell you that for a screenwriter, a Film Studies major would probably be more useful than Production. Watching the great films and discussing what makes them great is only going to make you a stronger writer. Of course, a Netflix membership is a lot cheaper...

Not long ago, I pointed you toward a story up on our sister site DV Guru in which Ryan came up with ten reasons why you shouldn't go to film school. Well, the dude is back with -- I'm sure you know where I'm going with this -- ten reasons why you should go to film school. Personally, I opted not to go to film school, and instead gathered together a bunch of friends to shoot our own stuff. To this day, I consider the one feature we made (a film that will never see the light of day) my film school. I believe that everything I needed to learn I picked up over the course of the two years it took to finally put that monster together. However, right now I'm not trying to become some big, gutsy independent filmmaker. Instead, I prefer to write about (and occasionally make fun of) them.

Anyway, in my previous post, I was in favor of film school simply because of the amount of contacts one can rack up. And, it appears Ryan feels this way too, as this is also his number one reason why you should go to film school. He notes, "Your classmates may be the most valuable resource you'll ever have. Go through the program, make friends, find alliances, and when you get out, stay in touch with everyone." I can't argue there. Also on Ryan's list are industry connections, technical know-how, mentors to push you and history and theory, among others. If you're one of those people who's on the fence about whether or not to attend film school, I strongly suggest you check out both columns as they could prove extremely valuable.

After reading Ryan's latest list, has your opinion changed at all? Do you think it's necessary for those aspiring filmmakers to attend some sort of film school? Or should they save their money and teach themselves?

I often find myself running into quite a few young aspiring filmmakers on the streets of New York City (because that's where I like to roll), and after telling them to run home and read Cinematical, the subject of film school usually comes up. While I've never attended film school (in college, I majored in Television Broadcasting -- don't ask why), the outcome is mixed when it comes to those friends who have. However, one thing is for sure: life after film school is definitely a struggle. The friends of mine who have had success in the Hollywood system worked extremely hard, and spent years developing their craft. Though, here's a question: were they successful because of film school? Was it necessary?

Our sister site DV Guru has a fantastic story up right now called "10 reasons you shouldn't go to film school." In the post, Ryan points to things like cost, the internet and digital video as reasons why, these days, film school should not automatically be a pre-requisite for any aspiring filmmaker. Personally, I am of the opinion that if you're young enough, have the money and the time, then film school could be an invaluable experience. Sure, the professional hands-on advice is wonderful and all, but film school also helps provide you with possibly the most important aspect of this business: contacts .. and lots of them. You're not going to get Harvey Weinstein's personal phone number, but that kid sitting next to you in Film Theory 101 might have it one day.

What do you think: Is film school necessary? Or is it just a waste of time?

At long last, Scotland is getting its first film school. Though it won't be officially inaugurated until later this week, it has been revealed that the academy will be jointly run by Napier University and Edinburgh College of Art.  The school, which will enroll its first students this fall, is part of a network of seven new film schools across the UK.  What's most notable about the schools are their funding sources:  the National Lottery (from which they will share £6.5 million/year) and the Skillset Film Skills Fund, and organization jointly funded by film and television industries and UK governments. Fantastic.