Speeches by Frith.

“You referred to the distinctions between sectors. Do you think that the Government should consider sectoral opt-outs—that is unfortunate phrasing—or sectoral alternatives to opting out? Should we have a distinction between sectors because the creatives have not run out of ideas?”

“There is a big ticking clock on this, which I think has been started unintentionally. We risk backing ourselves into a corner—a tight spot—on an issue that is well intended for growth and embracing new technologies and new opportunities, but that starts by undermining one of our biggest strengths as a culture. If you w…”

“James, you talked earlier about the original sin having already happened. That talks to a fixed point, when some would argue that the original sin is continually repeating itself in new forms and new guises. Have you heard of this idea of grounding? You no doubt have. I have read your biography. To those of us who are …”

“Good afternoon. Sajeeda, has the European Union’s opt-out approach been working for the creative industries?”

“Thank you, Max. Matt said something before about acknowledging copyright as is but adding transparency to it. With that in mind, I will ask you, Max, for your views on copyright protection for AI-generated work. Do you think that the status quo is correct that such work should have copyright protection, or do you agree…”

“You referred to the distinctions between sectors. Do you think that the Government should consider sectoral opt-outs—that is unfortunate phrasing—or sectoral alternatives to opting out? Should we have a distinction between sectors because the creatives have not run out of ideas?”

“There is a big ticking clock on this, which I think has been started unintentionally. We risk backing ourselves into a corner—a tight spot—on an issue that is well intended for growth and embracing new technologies and new opportunities, but that starts by undermining one of our biggest strengths as a culture. If you w…”

“James, you talked earlier about the original sin having already happened. That talks to a fixed point, when some would argue that the original sin is continually repeating itself in new forms and new guises. Have you heard of this idea of grounding? You no doubt have. I have read your biography. To those of us who are …”

“Good afternoon. Sajeeda, has the European Union’s opt-out approach been working for the creative industries?”

“What do we need to do differently to the EU?”

“What do we need to do differently to the EU?”

“Matt, what is your view on the EU now considering whether central registry opt-out is feasible? It sounds like a limited library model, almost. How do you take it?”

“I am desperate to see “The Brutalist”.”

“Do you think that the legal wrangles will increase with an opt-out model, more than they exist at the moment? Do you think there will be more cases, more battles as a result of opt-out?”

“Thank you. I guess with the change of operator and the time passed since the original iteration, there would be quite a compelling case to revisit it, not least if it is coming cap in hand to Government.”

“You were very quickly into the conversations I had with our previous witnesses about a larger piece of lottery funding share. Do you think there is a case that after 25 years, the 2.7% of the lottery funding that the BFI receives should be looked at in the round, not least because it intends to come to the Government d…”

“Hi, Minister; hi, Alastair. Thanks for your debate yesterday—it was brilliant, very enjoyable. I have a couple of quick questions before going on to the issue of artificial intelligence. You mentioned the BBC. Are you, like me, pleased that it is no longer a political football and that we have taken some of the heat ou…”

“I am desperate to see “The Brutalist”.”

“I have a final point, just on the levers to bring audiences in. I read an article last week about the rise of the intermission, and is this cinema finding it a USP that people would prefer perhaps to sit in a more comfortable chair with a bigger screen, and with the intermission allowing them to take a comfort break—[I…”

“There will be no narrative here that suggests it should be anything other than in its pomp or on its way to be, for sure. As I understand it, a film that is released has to be at the cinema for a period of time to qualify for some awards. Would you support that period of time being extended and, therefore, improving th…”