I just want to give you a parallel with the documentary world, which we know very well.
Canadian documentary production is very strong and recognized around the world. Why is that? Well, there is a tradition in Canada, of course. But there is also real funding for production in this system. Of course, all the producers will say they don't have enough money, but there is still a substantial amount of money—and we've produced a lot. Since we produce a lot, the offer is there and it's getting to the audiences, and it's being acclaimed. There is what we call in French une habitude d'écoute: if you stop being exposed to something, you will lack interest in that production. So I think there is a parallel here. There is a major shift to be made by public television in Canada, because it's been lacking the means to do what it used to do as a reference.
Just to give you a small parallel, in Quebec at some point we had a very strong presence of the French theatre or French films in our marketplace. In the 1980s the distributors stopped importing them and screening them and suddenly what happened was that American films took their marketplace and Quebec films took their marketplace, to the point that by the end of the 1980s there were no French films on the screens in Quebec. Now they've come back because some distributors have invested in them.
I think there is une habitude for the viewers: if you don't give them the product, they won't want to look at it.