Fly Me to the Moon (left) was billed as "the first-ever computer animated feature film designed, created and produced in [3-D] from frame one." Nocturna displayed extraordinary art design in creating a magical world.

There were several promising contenders among the 12 projects in development. The Blue Man (U.K.), which explores African themes and legends, was impressive in its effort to create a modern mythology while remaining true to and respectful of its source material. Producer/writer Bob Swain demonstrated a personal commitment to the film that marked it as something more than just a commercial venture.

Ooops! Noah is Gone, a German/Irish co-production about the animals that literally missed the boat, was ably represented by Ralph Christians of Magma Films. A longtime Cartoon Movie veteran, Christians is a natural storyteller whose narrative talents always make his projects sound like they should be made -- and this funny and well-conceived project is certainly deserving of funding.

Among the promising contenders in development were The Blue Man (left) which explores African themes and legends. Ooops! Noah is Gone is a funny and well-conceived project about the animals that literally missed the boat.

Two additional films in development stood out. Why I did (not) eat my Father (France) not only boasted what was probably the strangest title of the year, but also has the potential to be a big international success. Co-produced by Didier Brunner, a producer of The Triplets of Belleville (as well as the aforementioned Brendan and the Secret of Kells), this evolutionary sitcom sports the kind of universal humor that can transcend national borders.

Likewise, The Sandman and the Lost Sand of Dreams (Germany), which is based on a long-running nightly TV program designed to send children off to sleep, is a sweet and faithful adaptation that could have international appeal. (In contrast, another German entry, 7 Dwarves -- which was featured in the concept section -- though based on a live-action comedy that's been highly successful in Germany, may not translate, especially to American audiences.)

With budgets ranging from three to nine million euros, the films included in this year's Cartoon Movie demonstrate the growing importance of animated features in the European production community. While there's no clear evidence that any of these films will be marketable in the U.S., the greater involvement recently of European-based American studios -- including Buena Vista and Warner Bros. -- is a promising sign. Moreover, experienced American producers and directors interested in working with European studios will find a warm reception.

Ron Diamond is the president of AWN and the owner of animation production house Acme Filmworks.

Jon Hofferman is the interim editor of AWN.