English: In terms of the UK more generally, both sectors are relatively healthy at the moment. There are film titles over the past year, such as I Am Not a Witch, Beast and Paddington 2, which have done very well. And in terms of major television productions, Doctor Who, Game of Thrones and The Night Manager, for example, have been very prominent indeed. There are concerns about Brexit in terms of funding sources, markets and also in terms of talent. There is also concern that some broadcasters, such as Discovery, are going to move their headquarters to the European mainland from the UK, and that others will follow. In the UK, TAC works very hard to establish relationships with broadcasters, who, of course, use material on an international level, particularly in commissioning, and recently we've supported Cardiff's bid to attract Channel 4 to the city. We will also be looking to contribute to the Creative Cities Convention held in Cardiff next year. In terms of Wales, it's important that we differentiate between film and major television production and the production sector that creates year-on-year content for broadcasters in Wales, in the UK, and in international co-productions. The difference between the scale and the budgets between the larger productions and the productions created by the sector is marked. But despite that, the independent sector, for example, in Wales returns £2.09 for every £1 spent by S4C on programming, so it does make an economic contribution as well as a cultural contribution. And, of course, this is in the context of a reduction in the budgets of S4C of some some 36 per cent over the past eight years. So, the sector continues to make a contribution under those circumstances.
Welsh: O ran y Deyrnas Unedig yn gyffredinol, mae'r ddau sector mewn cyflwr cymharol iach ar hyn o bryd. Mae yna deitlau ffilm dros y flwyddyn ddiwethaf, fel I Am Not a Witch, a Beast, ac, wrth gwrs, Paddington 2, wedi gwneud yn dda iawn. Ac o ran cynyrchiadau teledu mawr, mae Doctor Who, Game of Thrones, a The Night Manager, er enghraifft, wedi bod yn rhai amlwg iawn. Mae yna bryderon ynglŷn â phan fydd y Deyrnas Unedig yn gadael yr Undeb Ewropeaidd o ran ffynonellau ariannu, o ran marchnadoedd, a hefyd o ran talent. Mae yna bryder hefyd fod rhai darlledwyr, er enghraifft, Discovery, yn mynd i symud eu pencadlys i'r tir mawr yn Ewrop o'r Deyrnas Unedig, ac y bydd eraill yn eu dilyn nhw. Yn y Deyrnas Unedig, mae TAC yn gweithio'n galed iawn i sefydlu perthynas gyda'r darlledwyr, sydd, wrth gwrs, yn gwneud deunydd rhyngwladol, yn enwedig ar lefel gomisiynu, ac yn ddiweddar rydym ni wedi cefnogi cais Caerdydd i gael canolfan Channel 4. Byddwn ni'n chwilio hefyd i gyfrannu at gynhadledd y dinasoedd creadigol sy'n cael ei chynnal yng Nghaerdydd y flwyddyn nesaf. O ran Cymru, mae'n bwysig i ni wahaniaethu rhwng ffilm a'r cynyrchiadau teledu mawr a'r sector cynhyrchu sy'n creu cynnwys flwyddyn ar ôl blwyddyn i'r darlledwyr yng Nghymru, yn y Deyrnas Unedig, ac mewn cyd-gynyrchiadau rhyngwladol. Mae'r gwahaniaeth rhwng lefel y raddfa a'r cyllidebau rhwng y cynyrchiadau mwy â'r cynyrchiadau sy'n cael eu creu gan y sector yn nodedig. Ond er gwaethaf hynny, mae, er enghraifft, y sector annibynnol yng Nghymru yn dychwelyd £2.09 am bob £1 mae S4C yn ei gwario ar raglenni, felly mae'n gwneud cyfraniad economaidd yn ogystal â diwylliannol. Ac, wrth gwrs, mae hyn yng nghyd-destun gostyngiad yng nghyllidebau S4C o ryw 36 y cant dros yr wyth mlynedd ddiwethaf. Felly, mae'r sector yn parhau i gyfrannu o dan yr amgylchiadau hynny.