I think one of the key factors is the technology change. We've seen lowering costs both in production and distribution.
People are looking for content on mobile platforms and on their terms, so there has been a shift in terms of the dynamic between what you could call the gatekeepers—producers and distributors—and consumers. Consumers are becoming much more in control of what they watch and when they watch it.
If we look around the world, we also see growth in other markets. This is also something that's changed since about 10 years ago. The United States is still the dominant audiovisual market in the world, but that won't last for long. China is coming on very strong. India has always been very large. The Chinese market is where the action is right now for American producers wanting to get in there. That's been another big change.
Jean-François also alluded to the shortening of windows. This is kind of inside baseball terminology, but what we're talking about here is the time that is allowed for a film to be distributed on different platforms. It used to be very sequential and very orderly. The movie theatres would be first and it could be that a film would only be available in a movie theatre up to several months. If you wanted to see it later on your television, you would have to wait several months or maybe even several years. There was this orderly progression through the various windows.
That's been under a lot of pressure, especially in the last couple of years, more so maybe in the United States but I think it's coming here too. We have films now that are going straight to digital platforms and bypassing movie theatres. This offers challenges. It depends where you stand. Movie theatres are perhaps anxious about this, but it offers many more possibilities for producers for getting their products out there on different platforms, because not every movie is suitable for theatrical presentation. Now we have the opportunity for different types of films to reach their audiences.