From veterans to newbies, to New Orleans cabbies and hoteliers, all saw that this was not the NATPE of heydays past. It was reported that the attendance was 50% down and exhibitors were down 70% from two years ago. Even those camped out in the suites at the seven-plus hotels did not bring a full contingency. Like in 2002, this year’s NATPE was a fragmented conference with the “majors” opting for comfy suites in posh hotels versus having a place on the convention floor.
The only evidence that the majors were in town was the big red square in the middle of the convention floor, called “Hollywood Plaza.” Each of the big players, such as Buena Vista, Warner Bros., Paramount and others, had a small display with a phone and a person. This was the place to make appointments before trekking by cab to the Ritz-Carlton way up on Canal Street. However, those manning these booths didn’t have the full scoop on what was going on in the hotels or even know who was there. Other distributors followed the lead of the biggies and ordered up suites in other prominent hotels.
Off The Floor
The large Latin American contingency grouped together at the Marriott, along with other distributors that had abandoned the floor.
Rosamaria Gonzalez, a distributor of children’s entertainment for Latin America, said that she has been in the business for 22 years, and nine years on her own, as Rose Entertainment. For years she had a booth on the convention floor and even reserved a space for one this year. But it was at MIPCOM in October, where everyone heard from NATPE president/CEO Bruce Johansen that the big players were again off of the floor and in suites, that the Latin American group decided they, too, needed suites. Nick Orfanopolus, vice president of NATPE Conferences, helped them settle in at the Marriott.
Jerry Diaz, of TV-Loonland’s Salsa Entertainment, was camped out at the Marriott with the rest of the group. “NATPE is changing,” said the executive vice president. “We will stay with NATPE. By coming here we save up to five or six trips and it is a good kick off for MIP-TV.”
Another suite holder was AnimEigo. Natsumi Ueki, COO, did not go the 2002 conference in Las Vegas. It was her new chief marketing officer, Denise Anker, who made the decision that if they were going they would have a suite because it would be quieter, more relaxed, offer more time for meetings, and the price was reasonable, even with the NATPE surcharge for being listed in the book and getting badges for the floor. In their Wyndham Riverfront Suite, just steps from the convention center, Ueki said that she was there to sell her titles to TV, meet licensors and to learn more about television marketing. She is aware how powerful television is for her Japanese animation properties. “It has been a wonderful experience. I think we will do again next year. Our hope is that NATPE comes back in one location, ” said Ueki.
“NATPE is becoming an international show. Domestic NATPE is going away because targeted meetings with station groups are held elsewhere,” explained David Carr, of Beantown, a broadcast promotions company, who attends every NATPE. However, he doesn’t see a need for a badge. He is there to party with his clients, the marketing executives. “Everyone is here because they don’t want to be missing. My primary function is to rescue our marketing clients [from strictly business]. It is a good place to get one-on-one with clients to build relationships,” said Carr, executive producer of the on-air promotion and television marketing company.
On The Floor
First time exhibitor Raven Moon brought the Gina D’s Kids Club home entertainment package to NATPE to find “broadcasting partners.” Joey DiFrancesco, chairman/CEO, was there not to “sell” but to create partnerships. “I have a deal for the broadcaster. I will give them 13 episodes free to broadcast with 100% of all ad sales and participation in 50% of all product revenue from all sources worldwide for five years,” stated DiFrancesco. “Partnering with the broadcaster is the future of NATPE.”
Handy Girls creators Barbara Ciarlantini and Mary Schwartz had a great deal of optimism for NATPE. From their home base in Las Vegas, where they missed the 2002 show, they traveled to New Orleans to present their girl-friendly do-it-yourself show to get worldwide reaction. Schwartz said, “We are getting a great response from everyone who has seen it. Being in the U.S. and being able to meet the world has been great.” NATPE [3] will be back in Las Vegas for 2004 and will be taking over the Venetian Hotel and the Sands Convention Center, which share the same property. Ciarlantini and Schwartz will be there.
It was obvious that many were missing from the convention floor and the floor was a microscopic portion of its former self.
ShoPro Entertainment, of Japan, had a formable presence near the entrance of the floor with their latest hit animated series, Hamtaro. John Easum, vice president of licensing and sales, feels that NATPE is becoming a “grand L.A. Screening.” “More business is done on the road in the U.S.,” he said. “But ShoPro will always do NATPE, even though it costs more. It is a way to introduce our executives to everyone.”
Colorland’s Louis Sek is a veteran of both NATPE and MIP and is committed to attend all of them in the future. The Chairman/CEO of the Chinese production company had a booth for the first time to present his original properties. “As a production service you don’t need a stand,” said Sek. For him the decision to have a booth was an economic one. “NATPE is much more reasonably priced. Even if you make one good contact then it is worth it,” he said. Though he wasn’t booked back-to-back with meetings, he was meeting new “friends” and gathering information just by being in the booth. “Some say that NATPE has lost its focus. It doesn’t need a focus. It is a great place for the industry to meet and exchange and build new relationships.”
Another seasoned floor dweller was Mark Bannon of Wreckless Abandon Studios. Following December’s airing of their NBC special, A Freezerburnt Christmas, Bannon, CEO/executive producer, was introducing Animation Content, his new marketing company for concept representation. He was surprised by the change at this year’s show. “Ironically, I have had the best meetings I have ever had,” he said. “I hope that NATPE settles itself out. We meet people you never would have a chance to meet otherwise, here on the floor.”
Barry Ward had much stronger feelings about the direction NATPE should take. “NATPE is an essential North American market and should be positioned as such,” said the president of the Vancouver-based Bardel Entertainment. “Indies like Bardel can’t afford to go to two European markets a year,” he said. He even suggested that NATPE go face-to-face with MIP-TV by scheduling NATPE at the same time and persuading the majors to stay home.
KOCCA is a consortium of Korean Content Producers. This was the first time many of their members attended this U.S. market. Won-Jung Kim, KOCCA spokes person, said the members of the consortium attended to explore the Western market and they did not get a chance to meet any of the U.S. networks. However, they did have success in exposing their properties to those that came by the exhibit. KOCCA will be attending the MIPs, but may consider passing on next year’s NATPE.
Walking The Floor
Bill Dennis, of Toonz Animation India, is a veteran of all of the markets. “The glitz and glamour of NATPE is gone, not that this is a bad thing,” said the CEO/president. For him, attending all of the markets cuts down on his travel. “The people that were sent to this year’s show are not generally the decision makers,” he observed. He said he would attend next year’s NATPE in Las Vegas. “After all, it is the U.S. market,” he said.
Many do not need the comforts of a suite or a stand. They are there to meet people, to present their wares and to start dialogs.
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 year’s 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 year’s 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.
Links:
[1] http://www.awn.com/imagepicker/image/5394
[2] http://www.awn.com/imagepicker/image/5395
[3] http://events.awn.com/eventdisplay.php3?event_no=1535
[4] http://www.awn.com/imagepicker/image/5396
[5] http://www.awn.com/imagepicker/image/5397
