For those of us that are most accustomed to animation festivals, NATPE can be something else. In-between the live showroom floor camel rides and armadillo races, crammed in between mega-booths touting the likes of The Nanny, Oprah, and Xena: Warrior Princess , one finds the animated programming. Yes, animation is a big business but at NATPE the niche gets put into perspective.

What was once strictly a domestic television programming market has changed significantly over the years. NATPE has changed to reflect the global nature of today's market. A total of 17,051 attendees descended upon the massive trade show in New Orleans from January 19-22, 1998. Of those attendees, 3,466 were international. Exhibitors were more international than ever, with 300 out of 700 booths occupied by companies from outside the U.S. In fact, NATPE sites that more than 90 countries were represented at this year's market. With vertical integration tightening the U.S. market, both international and U.S. companies without distribution outlets are at NATPE to strike deals and find opportunities for their wares. Whether exhibitors are trying to sell to a major U.S. network, the syndication market or putting together international deals and co-productions, there was a bustle on the floor. Despite the complaints about the U.S. being closed and syndication numbers being down, many companies with innovative programming seem to be finding a place to call home.

Starting in fall 1998, Gaumont's Oggy and the Cockroaches will join Space Goofs on Fox Kids Network. © Gaumont.

Selling to the Majors
While it is true the small start-up company may not have a chance of seeing their shows on ABC in the near future, some of the major U.S. networks are spreading the wealth between the large animation companies. Kids WB! is currently showing programming that has been produced at Columbia Tri-Star Television and DreamWorks, SKG. Fox will now be showing two of Gaumont Multimédia's shows, Space Goofs and Oggy and the Cockroaches.

Columbia Tristar Television is a perfect example of a big studio without a network that has made a large impact very quickly. Jumanji and Men in Black were successful shows. Following in this pattern, the upcoming Godzilla looms on the horizon as being just as huge. Sander Schwartz, Executive Vice President and General Manager Children's Programming for the L.A.-based studio, said, "Even though there are more shows being produced overall than ever before, and overall the market is very healthy, the shows are being done by fewer and fewer people." He sites Columbia Tristar's success on many factors including the talent and management at the studio, as well as the fact that when they pitch to networks, they do not have any pre-conceived baggage that might come with a network affiliation. Currently, Columbia Tristar enjoys the best of many worlds as they are a player with the majors but also successful in the syndication market. Bohbot Entertainment & Media, Inc. has just acquired Columbia Tristar's Jumanji and was actively selling it at NATPE.

How did Gaumont Multimédia, a European company, hit the pot of gold at the end of the U.S. network rainbow? Marc du Pontavice, President of Gaumont Multimédia, said, "Haim [Saban] knows that what made Fox successful initially is by commissioning various, different programming." However, he does admit that the U.S. market is a tough sell. It took a lot of shopping and significant financing from Europe to get Space Goofs on the U.S. airwaves. Now, moving forward with Space Goofs and Oggy and the Cockroaches, Gaumont's strong European presence helps them. "The fact that we raise a significant amount of the money out of Europe, helps us with the deal making," du Pontavice stated.

Another mid-sized independent that is doing very well for itself indeed is NELVANA. "We are going to do approximately 15 series in 1998 and we are going to do 20 series in 1999, so I am frantically looking for properties that we can put into development and then production," said Toper Taylor, President of NELVANA Communications, Inc. He also highlighted a benefit of being independent, "Our objective is to create very high quality, educational programs that fifty years from now kids will be watching on television." Major unattached studios in the U.S. that perhaps CBS might have considered for programming have a completely different agenda, and that is to "largely support the marketing of their major projects."