The process of creating an arm’s-length body within Welsh Government is one that we have to do very carefully. I did that with Cadw, and we are following the same process in establishing Creative Wales. There will, therefore—and I’m not going to give dates, but there will be an advertisement for the role of director for Creative Wales at the very highest appropriate level within Welsh Government.  Once the director, who will be an experienced official, is appointed through an external procurement process, then there will be moves to appoint a chair. And then, once a chair is appointed, there will be a call for board members. So, I am confident that the process of completing the establishment of Creative Wales will have been completed around the same time as Brexit. And if that isn’t sufficiently clear, then I am unable to give you more detail in terms of dates, because any recruitment process depends on the response that we receive.

If I can return to recommendation 10: Creative Wales will place more emphasis on showcasing Welsh talent, and we will consider asking major drama productions to consider carrying out local auditions as a condition of funding. It appears very strange to me that people have to travel to London for auditions when they are then working in Wales.

As suggested in recommendation 11, we’re also investigating how companies in receipt of Welsh Government funding can make greater use of Welsh talents on screen. And while there has been major work done in promoting and recognising the Welsh language as an international language through Welsh productions, we must also focus on building on those successes. And in line with recommendation 7, there will be attempts to promote the Welsh language, which align with the Cymraeg 2050 strategy, and that will be a funding condition for Creative Wales in the future.

In terms of international recognition, as stated in recommendation 15, we are already working to develop Wales as an international centre of excellence, and the considerable work of companies such as Fox, NBCUniversal, Netflix and HBO in choosing Wales for their productions does prove that this strategy is bearing fruit. 

The Welsh Government takes every opportunity, therefore, to promote Wales’s screen industry and its creative talents, which are here in all major international film and television festivals, including Cannes Film Festival, the Toronto International Film Festival, Berlin International Film Festival, the American Film Market, MIPCOM, MIPTV, Realscreen, and the Annecy International Animation Film Festival. It also ensures that there are opportunities for creative talents in Wales to access support to attend those markets—and that support is all in place—and to join with all international trade missions through the support that we as a Government provide, and that support is provided by the Department for International Trade.

However, there is always room for greater international recognition. I'm sure that Creative Wales, which will be established, as I said, according to the timetable that I've outlined today, will lead to the international marketing of Wales's creative industries through the Creative Wales brand. That's the intention. I'm very keen to demonstrate that Creative England and Creative Scotland are not the same things as Creative Wales. I want the body to be seen as one that is part of Welsh Government but which can operate independently on a commercial basis. 

In accordance with recommendation 17, we have provided the expenditure figures, as you have heard. And I am pleased that the figures have been welcomed, although there were some critical remarks, as I would expect, made. We will continue to publish these figures, and I'm pleased to say that the centre in Gwynllyw—in Wentloog, not in Gwynllyw—in Wentloog truly is now making a profit.