(Continued from Page 18) 20 content from India, China or Russia could compete, since the audiovisual product from those countries was not highly sought after. In this regard, it has been suggested that in order not to disappoint the expectations of some exhibiting countries, the organizers themselves should help them select content from their libraries so that they can be better received by the territories they are targeting. For example, Bollywood films are not generally found to be suitable for Central and Eastern European TV markets, though India could be successful selling documentaries. Russia, which has had difficulty selling a showabout the life of a famous Polish singer to Poland, could also use guidance. Also, it is hard to justify the presence of six Chinese companies at NATPE Budapest. Turkish productions, on the other hand, continue to be very successful at the international level. This year, NATPE Budapest experimented with a breakfast session at the Sofitel’s nearby Café Gerbeaud (also the venue for some of the U.S. studios’ screenings) just a short walk from the market’s headquarters. During a two-hour pre-market program on Tuesday, four panelists and a chatty moderator presented their views on TV industry issues in front of some 100 NATPE participants. Antony Root of HBO Europe documented the success of Central Europe’s local original HBO productions. Chello’s Peter Radnai explained his company’s strategy to get involved with shows with “high PR potentials.” FRAPA’s chairwoman Patty Geneste illustrated the benefits offered by her protection programs for format shows, after recognizing format veteran Michel Rodrigue as one of FRAPA’s founders. Eurodata’s Nassina Boudi mentioned that today “there is a global nostalgia for retro” programs, which are becoming increasingly popular with TV audiences, “because the future offers little appeal.” At the opening party, Rod Perth, president of NATPE, stressed that participants fill out a questionnaire to be used as a road map to figure out a better future for NATPE’s June CEE show; especially in light of the fact that the Sofitel doesn’t offer screening facilities, forcing the studios to go outside the venue. For next year, at least, the city and venue will remain the same. As for suggestions on how to improve the market, Fremantle Corp.’s Tripp said, “Maybe NATPE should find a venue that can offer more affordable and universal meeting spaces.” Global Screen’s Köhnen noted, “It has been discussed to move the venue of this market. I believe it would be best to keep it in Budapest.” Caracol’s Corrente felt that, “If NATPE Budapest wants to still be relevant in the years to come, it must deal with the fact that the independent sellers, the ones that keep NATPE alive, should be a priority. Instead of having the [U.S.] studio screenings take place before NATPE, they should allow the beginning of the event to be for the independents. This way the independents do not get overlooked. The majors can have their event after.” October 2013 NATPE Budapest NATPE held its first Breakfast Briefing Session this year, attended by about 100 participants.
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