I'll let everyone get in because that's a great question.
I'll begin with exactly one of the reasons that we're here today. The act is ambiguous with regard to how “author” is defined. It states “author” but doesn't identify who the author is.
The case that we've made, I believe, today is that screenwriters and directors are authors. The reason I bring this up is that one of the ways the act can be strengthened is to give clarity to that question. As you've probably heard already, many of the things that we do—the waiving of moral rights, the assignment of exploitation rights to producers and distributors, and so on—to ensure that we are very motivated to see the full exploitation of the content that our members create, for obvious reasons.... It's for financial reasons, and we want to see that. We think that is positive.
Strengthening that by having that clarified in the Copyright Act is a modest change that would bring clarity. What would that do? Tim and others have mentioned the extent to which new players on the SVOD side have been making investments. When you ask Crave, Netflix, and others what they are making, they say—in the jargon they use—that they're making a TV show. When our members are in Vancouver at a sound stage, whether it's one show or another....
As we go forward, as there are more disruption in the marketplace, as newer business models come up, we need to have those collective agreements. Madame Prégent made an excellent argument, and this is very much the experience of DGC. Those collective agreements are the vehicles for codifying those sets of rights and that transaction. But a strengthened Copyright Act would give us the tools to ensure that as new platforms come on—I'm finally coming to the punchline, forgive me—when these new technologies, new models emerge, it would compel that conversation with authors, writers, and directors, and those who are commissioning and financing the content, who are orchestrating the construction of the project over the rights and the fair compensation.