Right now we have, as I said, very strong contracts. In fact, this is our 75th year as a union representing performers, and we have long contracts that deal with residual payments and royalty payments.
It's usually a producer who receives a licensing fee or monies. We get 3.6% of that distributor's gross revenue, split among all of the performers in a project.
However, as I said, there are other monies around the world. For instance, we got into an agreement with Spain through the Performers' Rights Society that Laurie could speak to, and when we signed that agreement, $928—which is not the biggest number in the world, but is important to me—flowed to me from an account in Spain. It was not going to come to me until we made that deal. If the Copyright Act is changed to give us those statutory rights, then there are opportunities all around the world for those monies to flow to performers to benefit them.