"Getting" Your Toon on the Air" panel discussion. Left to right: moderator Gordon Bressack, Rob Hudnut, Al Jean, Mike Reiss, John Goldsmith, Kaaren Lee Brown. Photo courtesy of Lisa Lathum.

On Saturday, the Writers Guild of America Animation Writers Caucus presented a panel discussion entitled Getting Your Toon on the Air. It was noted that in this time of increased competition for viewers among the many network and cable programming outlets, there are fewer risks being taken with animation. The definition of a "good rating" is now a two or a three, whereas it used to be a around a thirteen. "The days of 'here's my idea--let's figure it out together' are over," said John Goldsmith, an agent and producer with the Gotham Group and Metropolis Animation. "Those kinds of things end up in 'development motel', where you might check in but never really check out." Kaaren Lee Brown of Bohbot Entertainment noted that while "It is harder to get things on the air. . . . it is easier to keep them on the air."

The lively discussion echoed with the idea that perseverance and resourcefulness are key in pitching an idea. Rob Hudnut, co-creator of Captain Simian & The Space Monkeys, recalled that The Blanket, his new home video series for children, was turned down 15 times before it was signed. Brown, representing the syndication market's point of view, said "A three-page treatment, a well-defined character, and two or three pieces of art is enough for us. Then we'll option it and take it from there." While all agreed that the marketplace is tough for the independents today, Goldsmith offered the suggestion that when making any kind of pitch, one should "have great writing, an animation director attached, and a deep-pocketed producer or investor attached."

Animation World Network hosted two panels as well. Both Copyrights, Contracts and Royalties: Legal Aspects of Programming Distribution on the Internet and Pipeline, Tools and Content: Using the Internet as a Broadcast Medium were very well received.

Perhaps panels and discussions is where this NATPE event should focus its strength for next year. The sentiment is that a lot of the "biggies" stayed away because they were unsure of this conference's focus and how it differs from NATPE's large January event. In the fast-paced, high-cost business of trade shows, it seems unfair to expect animation companies to put on two trade shows a year in order to sell product. However, this event may become a premier place to discuss the hurdles and challenges facing our industry. NATPE should examine how they want this event to relate to the one in January and what they hope to achieve with this new affair. Currently, the industry's lack of enthusiasm for the event would suggest that it doesn't have much need for it. Of course, then again, in twenty years it may be the largest market in the world and we will all look back, and brag, "Well, you know I was at the first one...."