There are different ways for directors to make money from copyright. They make money either through collective agreements, when licences are granted to the producer, or through broadcasters, when the work is used. These are all secondary markets, for example, and the reruns on television or digital platforms, at this time.
For instance, the Directors Guild of Canada, or DGC, works on a front-end basis. In other words, its members receive payments in advance, whereas francophone directors are generally paid at the back end of the project. We're therefore paid when the work is used. However, since broadcasters have been challenging the directors' ownership of copyright, they have refused to negotiate royalties for directors when the work is used.
The reason is that, in the past, directors were employees of broadcasters. Under Canadian law, the first owners of copyright were the employers. However, our market has changed, and broadcasters have outsourced the production of works to production companies. From that point on, we should have been the owners of copyright. We were supposed to negotiate an arrangement, but the companies refused to do so.