English: We haven't worked with them. I hope there will be opportunities in the future. But, they are certainly looking at working with public service broadcast companies, which is interesting for me. We see examples of the BBC and Netflix collaborating. One notable date for me this year was 5 April. On 5 April of this year, Netflix broadcast a major series called Our Planet - a major documentary series, they'd mainly been associated with dramas before that - and it was a statement from them, because this series was presented by David Attenborough, the face and the voice who is most associated with the BBC, possibly more than any other presenter, and who has been broadcasting on the BBC since 1954. By the end of this year, in September, the BBC and Netflix had announced that they were to collaborate on a joint production called Life in Colour, again with David Attenborough. So, these two worlds are merging now. And as Netflix is facing more and more fierce competition, we can't think that it's all rosy in the world of the subscription videos on demand, because it's not. Netflix has debts of billions of dollars; they face huge pressures, and there is far more fierce competition for them from Disney+ and those new services that are appearing now. They, to a certain extent, you could argue, need to work and partner with public service broadcasters in order to benefit from the quality and the value of the productions, and the kind of prominence they get from that joint investment. It's great that they're coming to Wales, it's great that we are seeing them spending more on productions in the UK. What can happen with them on occasions is that they work at such a high level, particularly in drama, in terms of cost per hour - and we've heard people say that the cost per hour for a series like The Crown is akin to a year's content budget for S4C, and they are expensive. We hear about the successes. We don't hear so much about the failures, where they have lost a fortune on hugely expensive productions that haven't worked internationally. So, their model is being squeezed, as are the models of other companies. But it's good that they are coming here and are part of the ecology. What Wales is missing out on, perhaps, is those dramas that aren't on that scale and are funded slightly more modestly than the kind of tariffs that they work to. And I think that was a very valuable space to develop authors, writers, production talent and new actors, and there is a risk that the kind of drama series that S4C is trying to fund and jointly fund is put under stress because there is such a difference in terms of payments between these hugely expensive dramas - and it is wonderful that they are here in Wales, don't get me wrong, but there may be scope to look at some form of intervention to support other forms of drama that perhaps don't meet that threshold of £800,000 per hour to get the tax credit and to help with reaching that £1 million. So, there's a balance to be struck, I think. That isn't the only kind of drama that audiences want to view.
Welsh: Dŷn ni ddim wedi cydweithio gyda nhw. Dwi'n hoffi meddwl efallai daw cyfle rhyw ddydd. Ond, maen nhw'n sicr yn edrych ar weithio law yn llaw hefyd gyda chwmnïau darlledu cyhoeddus, sy'n ddiddorol i fi. Rŷm ni'n gweld enghreifftiau, er enghraifft, o'r BBC a Netflix yn cydweithio ar gynnyrch. Un dyddiad nodedig iawn i fi eleni oedd 5 Ebrill. Ar 5 Ebrill eleni, fe wnaeth Netflix ddarlledu cyfres fawr o'r enw Our Planet - cyfres fawr ddogfennol, maen nhw wedi cael eu cysylltu gyda dramâu yn bennaf cyn hynny, efallai - ac roedd o'n rhyw fath o ddatganiad ganddyn nhw, achos roedd y gyfres yma'n cael ei chyflwyno gan David Attenborough, yr wyneb, y llais sy'n cael ei gysylltu'n anad unrhyw gyflwynydd arall, efallai, gyda'r BBC, sydd wedi bod yn darlledu ar y BBC ers 1954. Erbyn diwedd eleni, neu fis Medi eleni, roedden nhw wedi cyhoeddi - y BBC a Netflix gyda'i gilydd - eu bod nhw'n cydweithio ar gyd-gynhyrchiad newydd o'r enw Life in Colour, gyda David Attenborough. Felly, mae'r bydoedd yma'n croesi mewn i'w gilydd nawr. Ac wrth bod Netflix yn cael mwy a mwy o gystadleuaeth ffyrnig, mae'n rhaid i ni beidio â meddwl ei bod hi'n fêl i gyd ym myd y subscription videos on demand, achos dyw hi ddim, o bell ffordd. Mae gan Netflix ddyledion o filiynau o ddoleri; mae ganddyn nhw bwysau aruthrol, ac mae yna gystadleuaeth ffyrnicach o lawer, byddwn i'n dadlau, yn dod i'w cyfeiriad nhw o Disney+ a'r gwasanaethau newydd sydd yn ymddangos nawr. Maen nhw, i ryw raddau, gallech chi ddadlau, angen cydweithio a phartneru â darlledwyr cyhoeddus er mwyn gallu manteisio ar safon y cynnyrch, gwerth y cynnyrch, a'r math o amlygrwydd sy'n dod gyda peth o'r cyd-fuddsoddiadau yna. Felly, mae'n grêt gweld nhw'n dod i Gymru, mae'n grêt eu gweld nhw'n gwario mwy ar gynyrchiadau yn y Deyrnas Unedig. Beth sydd yn gallu digwydd gyda nhw weithiau yw eu bod nhw'n gweithio ar raddfa mor uchel, yn enwedig mewn drama, o ran pris yr awr - ac rŷn ni wedi clywed pobl yn dweud bod pris yr awr cyfres fel The Crown gyfystyr â chyllideb cynnwys blwyddyn S4C, ac maen nhw'n ddrud. Rŷn ni'n clywed am y llwyddiannau. Dŷn ni ddim yn clywed sut cymaint am y methiannau, lle maen nhw wedi colli ffortiwn ar fuddsoddiadau drudfawr sydd ddim wedi gweithio yn rhyngwladol. Felly, mae eu model nhw yn cael ei wasgu yn yr un modd â modelau cwmnïau eraill. Ond mae'n braf eu bod nhw'n dod yma, eu bod nhw'n cymysgu'r ecoleg. Beth sy'n colli mas yng Nghymru, efallai, yw'r dramâu yna sydd ddim ar y raddfa yna, sy'n cael eu cyllido ar gyllideb ychydig yn fwy modest na'r math o tariffs maen nhw'n edrych arnyn nhw. Roedd hwnna, rwy'n credu, yn le gwerthfawr iawn i ddatblygu awduron, ysgrifenwyr, talent cynhyrchu, actorion newydd, ac mae yna beryg bod y math o gyfresi drama y mae S4C yn ceisio eu hariannu a'u cyd-ariannu, er enghraifft, dan straen achos bod sut gwahaniaeth o ran taliadau rhwng y dramâu drudfawr yma - ac mae'n wych eu bod nhw yma yng Nghymru, peidiwch â fy nghael i'n rong, ond mae yna efallai le i edrych ar ryw ddull o intervention i gefnogi mathau eraill o ddramâu sydd ddim efallai'n cwrdd â'r threshold yna o £800,000 yr awr i gael y tax credit, i helpu gyda chyrraedd y £1 miliwn yna wedyn. Mae yna falans i'w gael, dwi'n meddwl. Nid dyna'r unig fath o ddramâu y mae cynulleidfaoedd yn awchus amdanyn nhw.