The individual has to be a Canadian; a landed immigrant or a Canadian citizen.
The subject matter has to be educational or informative. It might be an animation piece, but it definitely has to be educational or informative.
It has to comply with our proof-of-market demand. It has to tell us who the specific audience is. It's not enough to say it's the general public from ages 15 to 25. You have to specifically tell us who the audience is going to be.
We need letters of support from end users. The producers work with individuals in the community in many cases, and we want to know how people in the community are going to use the film. You've now heard a little bit about that from the illustration of The Boy Inside. This film is going to be used in schools, and there would be letters from end users.
There would be a letter and eventually a contract from a non-theatrical distributor. We don't want a product that we fund to sit on the shelf. We want to make sure it's distributed, and there has to be a distributor involved.
We ask the producer to research competing and analogous products. If a producer comes forward and tells us one day that he or she would like to make something on aluminum, or mining, or farming, it's not sufficient. We need to know whether or not something has been done before. Are they taking a newer approach? Are they using a different point of view? We want the producer to think through those kinds of things.