Bill C-11 committee  Yes.

Bill C-11 committee  I think there's a very clear question there, and obviously you're interpreting it one way. Another person might say that the single infringement, the one act of uploading it onto YouTube, does not in and of itself cause a substantial deleterious impact on the market for Degrassi.

Bill C-11 committee  We simply agree to disagree. To me it's not clear that.... I think it could be argued the other way. You may be right; I hope you are.

Bill C-11 committee  Absolutely, and I think that is a good thing. I don't care ab initio about receiving money from those mashups because they serve a wonderful purpose without receiving money. However, if somebody who has no relation to creating the mashup—either the fan who spent hours compiling it or those who produced the underlying work being mashed up—is making some money, I'd like to share in it.

Bill C-11 committee  It could fundamentally change. I'll give you one right in particular: the retransmission right. In Canada, there are tens of millions of dollars at stake, and it's the copyright owners of the underlying work who are entitled to this remuneration. If the directors were named the authors and, therefore, the first owners of copyright, what would happen?

Bill C-11 committee  The kind of people I was describing are absolutely not. They don't end up making any money. YouTube, of course, may.

Bill C-11 committee  I do not believe there is anything in the independent production agreement that acknowledges in any way that the director is an author, nor in the agreement with the writers' guild. Yes, there are royalty payments, as there are with the writers, as there are with actors, and as may be negotiated with others in the process, including other producers, but that, to me, doesn't....

Bill C-11 committee  I'll start. I don't have those overall figures, although I know our associations do. Hopefully in their briefs those types of figures are available. What I'll say very briefly, and then let the others carry on, is that over the past few years, the licence fees that television broadcasters can pay have lowered.

Bill C-11 committee  Unfortunately, it is the exact opposite.

Bill C-11 committee  In the United States the production company or the producer is effectively the author and owns all rights. They're our largest partner. The CMPA and I, personally, over the years have lobbied for a clarification that the producer be identified as the author. I thought it was a very astute question to ask if there is a difference between the economic rights and the moral rights, and indeed there may well be.

Bill C-11 committee  When I was trying to tell my wife—and I'm tearing up even now—I was so choked up I couldn't even get the words out.

Bill C-11 committee  Yes.

Bill C-11 committee  Yes. Between the two of them, they're in well over 100 countries around the world.

Bill C-11 committee  Indeed.

Bill C-11 committee  Copyright is territorial, so when we're dealing in the United States, we're dealing with the U.S. copyright act, and when we're dealing in France, we're dealing with the French copyright act. It really hasn't been that much of an issue. There are relatively standard terms and conditions that apply.