Industry committee  No.

Industry committee  Yes.

Industry committee  Correct.

Industry committee  We're all tempted to look at the new Internet environment as a very different environment in terms of rights management, in terms of the creative act. I would challenge anyone leaning into the question to consider what it means to be a writer or a director alone in a kitchen or in apartment, entering that universe, and to articulate a rights environment where that person is now going to do it for free just because we're working with a different set of wires.

Industry committee  No, the U.S. and Canada do not have that in the law. Our concern is for all the creators who do not actually belong to our union, because our contracts—the Directors Guild of America and the writers guilds of America and the Writers Guild of Canada and the Directors Guild of Canada—contain recognition of the intellectual property component of our work, and also the moral right component of our work.

Industry committee  I think one template solution that one might want to propose to various communities is that copyright not be automatically assumed to belong to the owner, but to the content creator, the originator of the material. We should explore how that is described in different communities, and be very sensitive to it.

Industry committee  What is the incentive to make things here if you're a producer from outside?

Industry committee  No, I think the only thing the Copyright Act would do in that specific dynamic is produce greater clarity in the rights market.

Industry committee  The second thing is to understand that we have, as a country, an opportunity and a mandate to create works in our own voice, and those are often drowned out in the international marketplace by larger players. Our ministry and our government have an opportunity to ensure that Canadian voices continue to be heard.

Industry committee  It's money. The entire conversation around audiovisual is producing the funds required in a small economy to produce competitive, compelling programming for Canada and the world.

Industry committee  Just as a brief preamble, I too want to acknowledge the fact that the major SVOD services have provided a platform for compensating artists that is second to none. It's unassailable right now. It's fantastic. The contracts are solid, and the compensation is completely fair. In some ways the rise of the SVODs has given us temporary relief from the huge problem of all the other services out there that are trading in stolen goods.

Industry committee  It shoots in Vancouver.

Industry committee  Season 2 was ordered two weeks ago. I was sitting in Netflix's office when it happened. It's a crazy lobby. It's so busy. Three of the four walls are The Crown, and we had a little cardboard thing for Lost in Space in the corner. I'm hoping that'll change.

Industry committee  It shoots in Vancouver with a great Vancouver crew.

Industry committee  Netflix engages in three kinds of business, or two, really. One is as a rebroadcaster of existing works. It will do deals with whoever the rights holders are for existing movies and series. In terms of original work, which is, as you say, the $8 billion a year that it's planning to spend worldwide, that's almost the same....