In our brief, we talk about the fact that the methods people use to consume cinematographic products have changed, both in Quebec and in the rest of the country. People go to the movie theatre much less than they used to; movie viewing is much more concentrated on conventional TV, pay TV, specialty TV and video on demand platforms. DVDs represent another, although less popular, viewing platform. The model is changing gradually. There are also all the other services for which we, unfortunately, have no data. For instance, we don't have any information on the use of non-CRTC-regulated services, even though we know they represent a growing trend among consumers.
According to the Heritage Canada study that came out this week, TV-based movie viewing has decreased slightly, both on conventional and pay TV platforms. My feeling is that, if we meet in another five years, or perhaps even sooner, we will likely see an even greater shift towards Internet-based and on-demand viewing.
One thing is certain: Quebeckers still have an appetite for Quebec films; they merely consume them differently. It is crucial, in my view, to bring funding mechanisms in line with the current viewing landscape and to accommodate consumers' new viewing habits. As I see it, with this new context come new opportunities to deliver our cinematographic products to consumers.
Furthermore, as both we and Ms. Simard pointed out, Quebec is home to a wealth of cinematographic expertise. And despite language and cultural differences, the province's filmmakers are being recruited elsewhere, including Hollywood. Just think of Denis Villeneuve. They have succeeded in making films that have gained international popularity. In other words, not only have our funding and support programs made it possible to satisfy consumers' needs, but they have also enriched our market with tremendous expertise. Our industry has built a high-calibre workforce.
In that respect, and in terms of viewing habits, I would say that Quebec's market and Canada's English-language market are not all that different. We have a very successful star system, which is a tremendous asset. But, as I said, it doesn't protect us from our U.S. competitors. Audiences don't care about a film's budget; all that matters to them is its quality. From a consumer's standpoint, all movies are equal. That means that, beyond the distinctly Canadian and Quebec identities of their productions, our filmmakers have to set themselves apart from their international competitors, making consumers want to opt for homegrown films over foreign ones.