At the World Animation Celebration, the closing night awards ceremony was the one opportunity for filmmakers to be recognized on stage. Photo courtesy of Michelle Klein-Häss.

The World Animation Celebration (WAC) crept into Pasadena rather slowly for a week of activities from February 16-21, 1998 with a large number of events. The New Animation Technology Exposition and Conference was a well-organized success and so were the panel discussions included in the International Business Conference of Television Animation (IBCTA) and the World Summit for Feature Films and Visual Effects. While this festival doesn't have a market or provide the type of business opportunities like MIFA at Annecy or NATPE, it does offer executives a chance to schmooze with one another and hear their peers discuss ideas and points of view. WAC also did a good job at providing learning opportunities and classes to students and folks wanting to break into the biz through the classes offered at the New Animation Technology Exposition and Conference and the booths at the ASIFA-Hollywood Opportunities Expo. Afrustration with the Celebration, however, was the feeling that the different events were spread out and disconnected. There wasn't a list of attendees and contact information, mailboxes or a central location to meet people, like a festival bar or restaurant.

The MTV/Nickelodeon development panel was one of the more informative corporate-sponsor programs at the World Animation Celebration. Front row, left to right: Rebecca Poole (Nickelodeon), Melinda Toporoff (Nickelodeon), Machi Tantillo (MTV) and back

The meat and the potatoes of most festivals are the filmmakers and their films. This is not the case at WAC. The competition screenings at WAC are not the centerpiece of the festival. For example, filmmakers are not asked to stand after their film is screened, which is a customary courtesy at most festivals. While those filmmakers from California are probably not that disgruntled, one has to think about how the filmmakers attending from farther afield like New York and Europe feel. Also, the selection of films were not strong and the programming of some special screenings, like The World's Funniest Cartoons, was very uneven. Once, again the filmmakers suffered. Those that had their films screened in programs that didn't match their film's style and tone were unfairly criticized by audience members who were justifiably expecting different content. For better or worse, depending on whom one asks, WAC focuses on studio showcases. While some of these were quite exciting and informative overviews, others did not present certain promised treats. For instance, many attended the DreamWorks/PDI Studio Salute strictly to catch a moving glimpse of Prince of Egypt. This was the hot ticket (and with a $10 price tag!), but not only was a clip not shown, DreamWorks did not make a complete presentation. Costs run high at this festival so participants should try to do as much homework as possible to ensure that they are going to get the biggest bang for their buck. It is hard in the midst of pre-festival chaos to do research but in the long run a little homework would save time and disappointment.