 My name is Kevin Fleischer. I'm from Johannesburg, South Africa, and amongst many other things, I'm a film producer. I'm an executive producer in the sense that I deal with the financing of films in South Africa, but also I'm involved at a very detailed level in the production of South African feature films. A lot of people, I think, take a very simplistic view of the process of creating a film. People often think of the producers, somebody in a limo with a big cigar, and the glamour roles are usually the actors and the director. But the producer is very, very important. And if you think of a business context, the producer in many ways is the CEO of the business. And the producer has to start long before the film starts figuring out how this is going to work as a commercial enterprise. So there is that initial phase of figuring out the script, getting it written, changing it so that it's going to work so that it will attract finance for people who think this is a good film, putting the financing package together, putting the production package together, hiring the crew, hiring the actors, working out where and when the film is going to be shot, doing the post-production. It is a challenge, let alone to get the film financed. I go back with my banker's hat, and this is how we deal with the financiers. And they say, OK, show us where you're going to make money back for us on this film. And we have to be able to say, OK, here are the slices of rights that we can sell on the film. And the obvious one is we'll go to the theatre and we'll put it in the theatre and people come and pay for their tickets and we'll get a share of that. And they say, what else? And they say, well, we'll put it on DVD and we will sell DVDs. And nowadays we're saying, well, we might sell some DVDs, but there's a terrible problem is that the pirates may be selling most of the DVDs instead of us. And the bankers say, well, in that case, I'm not accepting your DVD revenues as real. And so they cross it out of your model and they say, what else? And you say, well, we can sell it on television. And they say, which television and where? And what will you get for it? And we have to be able to say, we have the rights for a certain territory or a certain platform for television. And we know that they are worth a certain amount of money. And they will accept that and say, OK, fair enough, you should be able to make that revenue. And you go level down. They say, what else? And you say, digital, online, streaming, video on demand. And they say, well, what about piracy there? What about people downloading for free? And we don't accept that because there is a risk that this will be pirated or will be downloaded illegally and there will be no revenue back to you and us as the investors. There is a second challenge. Once you start to distribute it, to get it into the hands of the consumers and to get them to pay you for the content they're using. Let's talk about piracy. Now, that's very close to my heart. And I'm going to tell you tell a story that will really make it live for you. I've been involved in several films now. And on three occasions, I have been driving in my car in Johannesburg with a new film that is about to be released. And I come to the stop light and somebody walks up next to my car and he says, would you like to buy a DVD? There's this great new movie. And he shows me one of those cheap packaged DVDs with a color photocopy of the DVD sleeve in the window. And it's my movie. It's not even released yet. And it's available for $2. And he says, it's a great movie. You really got to see it. It is absolutely soul destroying. Not just for me, but for the people involved all the way through the value chain. It really is a great social ill, I believe. For us now, the absolute key is we have this film. We have the film in a digital format and it is ours. And the rights are where the value is. And theoretically, I can split those rights into whatever right I can imagine if I can get somebody to pay to appreciate that content. Every time somebody does it for nothing, the value of the enterprise that I've invested in with all that crew, all that cast, all those talents goes down because somebody is accessing it for free. So I'm a firm believer that at the end of the day, this has to be about business. And if you can't trade on your rights, then you don't have a business. The creative industries have to be a business. If you leave it to a market that doesn't have copyright protection, the cost of production will come down and down and down until you get essentially to an amateur level. The quality will just gradually deteriorate down that the industry itself will virtually disappear. Those rights, above all, are absolutely crucial for us. And the idea that the internet is a great leveler and that you can make it available and there's the revenue model in itself, that just isn't the case. You know the story people always say to filmmakers, what are you working on now? I'm working on four films at the moment. But I think only one of those, if I'm lucky, will actually get to the screen. It's not like making a sandwich. You don't just take a piece of bread and put butter on it and you have a sandwich. You really have to work for many months, often years, to get a script into the stage where it's actually out of development and into production. And that costs a lot of money. Nobody's paying me to do that. I wish they would, but that's not how the market works.