popular book.

Very popular book.

And in addition to that core audience, we've got fashion, people who love the 1950s couture fashion.

So we know our audience, right? Let's start with them now and build up a conversation with them and take them through the whole journey.

And Universal Pictures said, well, Sue, that sounds all very commendable, but we don't do social media until you've got a trailer and the film's finished and the film's coming out and it's a marketing expense.

I said, look, it may be a marketing expense, but it's not a marketing exercise.

It's an exercise about building community and bringing it with you.

With archiving and giving access to these films, which has always been a real frustration for Australian filmmakers, where do you sit with this? And was that one of your reasons why you began distributing films yourself?

And when we think about distributors and exhibitors choosing what films are going to then go out on screens, what do you think it is that is the difference between what you see as a producer and what they, in the case of The Dressmaker, weren't able to see up front? How do we bridge that gap?

Look, every distributor will have their own take on it, their own audience, their own profile, their own brand interest in particular films.

And I have to say we are really fortunate that we have a bunch of very, very dedicated distributors passionate distributors in this country, but they recognise that they're not really able to offset the risk in the same way that they were pre-COVID.

There isn't the home entertainment market anymore.

There isn't the television sales.

They have to take a punt.

And remember, all the P&A spend happens, well, most of the P&A spend, not all of it, happens before the very first ticket is sold.

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