As a producer, I made over 150 films. I was then the executive director of the National Film Board of Canada's French Program during five years, and I took part in the great digital shift at the NFB, by opening interactive production studios, among other things.

Today, there is indeed an issue with visibility, since the offer is overabundant. There are no more borders. The concepts of time and space are now entirely relative, and as Ms. Collin was saying earlier, everything is changing extremely quickly.

During the few years I spent at the NFB, I had to change our technology three or four times to adapt the productions. If we want to be visible, the real challenge today is to continue to support the works that are written, produced and filmed by Canadians and Quebeckers, in our case, in Quebec. We have to find the necessary means and resources. The Canada Media Fund is one of the models we had; I mentioned it previously.

The discussion we are having here today is also being held in all of the European countries, be it in France, Germany, England or elsewhere, because all of us are grappling with the invasion of an extremely abundant offer on our territories. How can we establish our own offer in our own country? That is the big issue. To be able to do it, we have to have the necessary means. I think we have to support creation and production, but I also think that we have to be able to support what I call the development of the works, that is to say the marketing, the commercialization, the distribution, and we must do that with all of the means at our disposal, including social networks.

I think that the Internet and cell phone technology are basically the two big “highways” through which today's culture will be consumed, not only film, but also music. This is the case everywhere in the world. We should in some modest way put these two highways to work to ensure that the producers have the resources they need. I say—

Transcript

Discussions (0)