Again, you've heard from exhibitors. You've certainly heard from distributors. The competition in the theatrical marketplace is absolutely brutal. An American movie has a production budget of $80 million, say, on average, and we're saying there should be a minimum promotional budget in a Canadian film of a half a million dollars. Well, let's say, you do institute a minimal promotional budget of a half a million dollars; it's still a drop in the bucket.
The commercial marketplace is extremely difficult to penetrate. That's why I say we really have to take advantage—I would call it our home field advantage. People are invested and hungry for Canadian material, and we should take advantage of that to reach them in alternative ways to get them engaged. We invest in these productions. We make them.
I think it was a very good development when Telefilm moved away from a strict box office assessment of the success of a film, because theatrical box offices are an increasingly small percentage of the measure of a film's success. We have to count all of these things—international recognition, awards, everything we can possibly count—to pile up in favour of the argument to watch a Canadian film.
I think that special events, bringing talent in, and anything that takes advantage of the home field attachment to these stories would help.