I'll try to address them one at a time.
Regarding Hot Docs, I don't have the exact stats off the top of my head, but more than 80% of documentaries completed in Canada are completed with some form of broadcaster support; it's virtually impossible to finance a documentary without that. If you don't have the broadcaster on board, it's your credit cards funding it and your inheritance. And the other business model currently used is remortgaging your house—if you actually own one.
So how many of them will be picked up from Hot Docs? A couple perhaps. There are more than 130 films, I think, and I'm not sure if any of them—I haven't looked at the schedule closely enough. I would say that maybe one or two of them come as a result of CBC, and whether or not they pick up other ones as a result, I'm not sure. In the past they've picked up Super Size Me. They do attempt to pick up all of the big blockbusters and put them on board.
We support independent Canadian documentaries, but we're also generally supportive of the growth of audiences for documentaries, regardless of where the documentaries are from, because I think this helps feed everything. It's more of a nationalist argument. A good story is a good story; it doesn't really matter where it was made.
As for the idea of regional voices, it is interesting that current affairs programming, I would say, is done almost exclusively as an in-house exercise. We want to inform, entertain, enliven, and inspire Canadians. That doesn't necessarily support the independent sector per se. Regional voices are about having someone living in Cape Breton with a different view of the world from someone living in The Pas; so the way they tell a story will be reflective of the panorama of Canadian views and viewpoints. It helps to create different economic markets in different places and allows those who are essentially artists to live and work and participate in the world, if they don't live in Toronto or Montreal.