What we're looking at are workshops. That is something that can be done for writing. The importance in story-based games comes from plots and character. Screenwriters who have been working on drama series and comedy series, that's what they know, and they've developed a skill base over a career in Canadian television. That's why Ubisoft Toronto hired a drama writer who's been working on The Listener and Republic of Doyle to work on the latest version of Splinter Cell.
If we have that kind of targeted training of experienced, skilled screenwriters across Canada, they can then be part of the talent pool and work on these story-based games. We're talking with Interactive Ontario, and we'd love to talk with Alliance numérique about these kinds of partnerships where we can introduce their members to our members, which is also the other part of the story. They have to know that our people can do the work.