Monster Distributes Ltd., an Ireland-based outfit that has sold programming to more than 200 countries, handles a variety of genres, including edgier fare like Oscar-winner Harvey Krumpet. © Melodrama Pictures.

As complicated as the production process is, creating a cartoon is only half the battle; like the tree falling in an empty forest, does a cartoon exist without distribution? (Actually, the answers are yes and yes. In the first case, the tree's descent creates sound waves that bounce around the forest even if they never reach anyone's ears; in the second, the animator can still show his or her cartoon to friends and relatives.) Fortunately, there are quite a few distributors out for independent animation producers to turn to for a shot at getting their short seen by the public at large.

Speaking for many perspicacious animators, Patrick Smith insists on non-exclusive deals with distributors, saying, "the only way to make money is with multiple deals. Individually they're not much, but all together they add up to a chunk of change."

Monster Distributes Ltd. is an Ireland-based outfit that has sold programming to more than 200 countries. In addition to a variety of Christian-themed children's animated series, Monster also handles edgier, adult-content cartoons like 2004 animation short Oscar-winner Harvey Krumpet and '05's nominated The Mysterious Geographic Explorations of Jasper Morello; its suppliers include individual producers, as well as studios in Canada, Ireland and Zimbabwe.

Microcinema's Joel Bacher deliberately focuses on non-commercial artists and projects, leaving anime and more mainstream efforts to mainstream distributors.

Monster chairman Andrew Fitzpatrick's rates content as the number-one factor in acquisition decision-making. "It's style and story," he explains, "at the risk of being obvious, something which will connect with the audience. After that, length is important -- a running time that fits into existing broadcast slots, as well as a number of episodes which conforms to a broadcast season -- and ideally as many of them as possible!

"Beyond that, we look for animation which is original, quirky, fun and ideally with some educational or other values which means the audience has something more to take away than mere entertainment."

Microcinema International specializes in DVD distribution of alternative independently produced "moving image arts." The company's titles include documentaries, video art and even "ambient video" of abstract images and fireplaces for flat panel wall screens. Microcinema cuts deals with everyone from wholesalers to retailers as well as broadcasters, cable channels, podcasters and mobile telephone services.

Since the company's founding in 1996, it has overseen "Independent Exposure," a touring show of independent work screened at festivals and alternative venues. According to Microcinema's website, Independent Exposure has appeared in 44 countries and presented the work of more than 2,000 creators.

Twenty-five percent of Microcinema's business comes from animation titles, including Patrick Smith.

With clients like Bill Plympton, Signe Baumane and Patrick Smith (and some 25% of his business coming from animation titles), Microcinema's Joel Bacher is well situated to talk about the distribution market for independents. "Animation defines the independent spirit, because it's a solo art form. From a commercial perspective, it's important to us that the artist has a strong body of work that's relevant and unique." Bacher deliberately focuses on non-commercial artists and projects, leaving anime and more mainstream efforts to mainstream distributors. "We're trying to represent the unrepresented -- we like to give them a boost in the relatively speaking 'commercial world,'" he says, while admitting the company would like to distribute kid-friendly animation too, "but not typical TV stuff."

Microcinema describes itself as "very selective" when it comes to choosing titles for distribution, favoring already "published" (i.e., existing DVDs) over works that have yet to leave the artist's reel; would-be clients are advised to contact the company before submitting any material.

Commercially-targeted animation is Catherine Branscome's stock in trade. In 1999, following up on a lengthy résumé in sales and distribution (including four years in charge of international distribution for the now defunct home video company Good Times Ent.), she set up her own firm, Branscome International.

Complex deals are Branscome's specialty, with overseas properties simultaneously licensed for home video distribution, cable channel airing and licensing/merchandising, with different markets getting different pieces of the pie. Mainstream properties with already existing track records tend to get her attention, but her deals have also included a package of Plympton shorts to the Sundance Channel.