First of all, there are various requirements in terms of coming into Telefilm. We talked about the Canadian content ones. We have script developers who read the scripts, and those scripts may be in development for a year or two. We're constantly working on that.
I think one of the most important ones is the voice of the marketplace: the distributor. If a project is brought forward to Telefilm Canada without a distributor attached to it, we do not relate to that. We want to see the voice of the marketplace. By that, I mean not merely from a dollars and cents point of view, but that it has a taste for what the public is interested in. They're at the grassroots, not sitting in my bureaucratic office somewhat removed. We need that evidence before we'll commit.
There's evidence from the broadcasters. When TMN or Corus or CBC or whoever says they think this is a good project and they're prepared to put $250 million to $400 million into it, we pay attention.
I'm not abdicating the responsibility we have. As you pointed out, at the end of my tenure at Telefilm Canada, I will be judged by the accomplishments of the films, certainly the box office, as well as I think the artistic accomplishments, internationally, but first and foremost, domestically.
I think there is in the process an integrity about the selection. As long as we see more Bon Cop, Bad Cops and Trailer Park Boys--and maybe someday we'll see a Corner Gas project--those are the kinds of projects that make it a little easier.