First, these are two very different markets. One can say that there is one film industry in Canada, but two very different markets. I think you have to address those two markets very differently.
On the English-language side, for example, what I've learned to date is that there is a problem with the quality of screenplays, with the number of high-quality screenplays that are prepared by screenwriters and that are more consistent with the tastes of English-speaking Canadians. It seems to me there's also a problem with the relations that exist, that don't exist or that should exist to a sufficient degree between producers, distributors and movie theatre operators—I don't know whether that's what they're called.
With regard to governance, to try to solve this very specific problem, we've developed a program that supports the development of the screenwriters, provides training for high-quality screenwriters able to produce high-quality screenplays. We've also just hired Ms. Azam, a specialist who has spent the last seven years in the film marketing field in New York to try to create this phenomenon of osmosis between producers, distributors and movie theatre operators and to correct this—