I'll come to that. I just want to say something about northern Ontario and one of the things we're looking at.
In various ways, it has been very important for me to reach out to communities. In fact, the week after my nomination was made, for example, other colleagues would have been on the golden sands at Cannes, while I was up at the tar sands in Fort McMurray, because I felt that it was important in terms of connecting to a community and seeing what was going on, and it's a place that has enormous importance for the country and the world. So it has always been important for me to reach out.
We're also looking in terms of our new technologies and saying, how do we create, say, virtual edit rooms--we talked about this in terms of northern Ontario, with my Ontario studio--so that we can have filmmakers working at a distance, because of the technology allowing things, so that we can reach out and be deeply connected to the talent everywhere.
I just want to say another thing about this, which I don't think gets expressed enough. When we say we reach out to the talent across the world or to cultural diversity or to other groups, it's not because we're checking off the boxes that it's right to do so, although it is right to do so. We strongly believe that what we're doing is enriching who we are, that we need this rejuvenation from these other voices, and that what we're doing is enriching Canada as a result of that, by bringing a whole set of other ways of looking at the world that we might not otherwise see, a way of thinking and feeling, and the level of creative energy that can be released by tapping into a community, whether it's a northern community or whether it's an Inuit or aboriginal community, or working with the black community in Montreal or in Vancouver, or elsewhere. It's tremendous, and I think no one else can do that but the film board.
I'm sorry, I'm going to go back to the question of short films monetizing.
It's still a big question in terms of that and how you monetize that. My own thinking at this point is, in creating that kind of way, how do we give back to Canadians what they've invested so they have some kind of access, in any case, to the films they've invested in through the film board?
Maybe it's through some kind of streaming, and then if they want to own, they can buy it. What we've been hearing in terms of models out there is that this has been working very successfully. In fact, revenues increase for people in terms of being able to have things available on a range of platforms.
There's nothing that has yet seen a viable business model that becomes part of a whole production financing mechanism that you can kind of look at and then it will flow back in. These are things that different kinds of people, from the major players in the world, the big studios, to smaller players, are looking at. I said earlier that I want to look at how we can be entrepreneurial and look at exploiting our materials, partly looking at that and finding different ways of doing that. Frankly, looking at that whole world, the online world and what gets monetized, do you know what the biggest business is, the biggest money earner in terms of audio-visual media? It's ring tones and screen savers. It's a billion-dollar business--very interesting.
Merci.