Thank you very much, Madam Chair.
Thank you to all the witnesses.
Our chair has gotten us all used to always giving priority to witnesses who appear by video conference, in case we lose the signal due to a technical problem. So I'm going to ask you a question right now, Mr. Palmer.
It was interesting to hear you talk about your journey, how it started and how the Canada Council has helped you at various stages. You also gave us a good explanation of the difficulties you encountered. I think the adventure of puppet shows in the trunk of your old Volvo was really great.
Do you feel that the Canada Council's programs have evolved in a way that reflects reality?
The Canada Council for the Arts wanted to revise its programs and also received this incredible manna that allowed it to meet the needs and ambitions of artists.
In today's market, there is a lot of electronic competition, and fewer companies. Indeed, companies are finding it increasingly difficult to provide for themselves. Here, I am thinking, among other things, of record companies and the fact that artists are becoming more autonomous.
In this context, do you have the impression that the Canada Council for the Arts has been able to modernize over the years?
I would also like to hear the opinions of Mr. Stacey and Ms. Tracey.
This may have been a strange time to receive twice as much money, just as the Canada Council for the Arts was redesigning its network. I think you made that point, Mr. Stacey.
Is the evolution keeping pace with creators' needs?
Do you think it was an odd time to get all that money, while they were redesigning the organization?