The Future Of NATPE: Stalwarts Are Concerned, Yet Committed


Frank Saperstein of the Philippine animation studio, pasi, expressed how overall disappointing NATPE was this year. However, he said he was making more contacts and having more time to spend with his meetings. He had hoped that this years NATPE would have bounced back from the pall of 9-11 and 2002 because of the New Orleans location.
Joan Vogelesang, COO of ToonBoom Technologies of Montreal, summed it up: I always create opportunities where there are none. And for many, NATPE is still the place to do just that.
While the crazy stunts and promotions of past NATPEs are over, it appears for those that are focused on their business, know whom they need to meet with and why, then NATPE is still a very valuable event. More conservative in nature now than in the past, it is drawing fewer people, but they are the television syndication crowd and that doesn't necessarily impact the world of animation, with its co-production deals and pitches to major U.S. networks. While the MIPs are firmly entrenched as the markets to do international deals, NATPE is still a place to build relationships, have key meetings and do on the floor research prior to MIP TV. So, over the hushed tones of upset over the economy and the market, voices rose to express the value they are still getting from this event, to wish the best for NATPE and to proclaim their commitment.
Jan Nagel is a marketing consultant to the animation industry representing production services and development, and is the president of Women In Animation, Inc., a worldwide professional organization. Jan was also representing the following projects at this years NATPE: El Dia de Los Muertos (Jim Keeshen Productions), Captain & The Quill (Glenn Productions) and Goddess Only Knows (MJ Productions) for co-production and/or distribution.
























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