Industry committee  Yes. For television, we pay royalties to the directors, even for the initial use. Those royalties come from the revenues we receive from the broadcasters. That is part of the basic licence that the directors give us. For television, it's a little different from what was explaine

Industry committee  With your permission, I'd like to correct something because I am currently working on this. I'll give you the example of a program broadcast by CBC/Radio-Canada. CBC/Radio-Canada acquired first-use rights for broadcasting programs or films on its airwaves—for subscription video

Industry committee  First, I want to specify that when we talk about cinematographic works, we are talking about audiovisual works.

Industry committee  I hear my colleague talking about feature films alone, and I understand since he directs feature films. However, we are discussing many other things here such as televised magazines, variety programs or reality television shows. Often, there is no scriptwriter. There may also be

Industry committee  As producers, we have, for example, agreements with the SARTEC for scriptwriters. When the material is broadcast, scriptwriters receive from the SACD an amount that comes directly from the broadcasters. In addition, the scriptwriters negotiated with us, the producers, the use an

Industry committee  Good afternoon. Being the producer of a cinematographic work is a whole art unto itself. The producer can be thought of as the conductor of the cinematographic or audiovisual work. The producer is the only one present from the beginning of the work's creation to its delivery, a