Industry committee  May I clarify something?

Industry committee  No.

Industry committee  If I may—

Industry committee  I think your question is mainly for me, and I'd like to correct something: we don't want to change that ecosystem. Quite the opposite; we want to preserve it. At this time, authors give producers licences so that they may use their works. We don't want to change that. We simply want to clarify the act to include a presumption of ownership.

Industry committee  I think that the ability to identify creators will help define the duration of their rights. It must be understood that, in Canada, copyright is associated with an individual and not a company. This is contrary to the United States, where the rights for commissioned works belong to companies.

Industry committee  Yes. I simply want to point out that, initially, the scriptwriters obtain the use rights. The SACD can negotiate rights for them because, traditionally, as I was saying earlier, they were originally freelancers, even for broadcasters. Furthermore, Ms. Beaudry is confusing dramatic works and non-dramatic works.

Industry committee  Mr. Chair and committee members, my name is Gabriel Pelletier. I'm not only the president of the ARRQ, but I'm also a director. I'm very pleased to finally be able to speak to you today. I've been waiting many years for this moment. In 2000, I directed a film entitled La vie après l'amour, which won the Billet d'or for the highest box office revenue in Quebec.

Industry committee  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.

Industry committee  I look forward to speaking to you, but I'll give the floor to Mylène Cyr.