"SHORT SUBJECTS," AS THEY were once known, have made a powerful comeback, and for indie moviemakers the trend is getting harder to ignore. Not only are shorts gaining acceptance as a unique art form, commercial possibilities for shorts are better than they've been in decades.  Cable television networks are increasingly receptive to the short form, new film festivals devoted entirely to shorts are springing up. What's more, DVD is a potentially large market and various internet sites are fast emerging as viable short film outlets [See "Marketing on the Internet," this issue, pg. 82 ed.] More exposure means more potential for profit, and just this year several distributors have surfaced who specialize in the promotion of short films. It's literally been generations since makers of shorts have had this much support. And many filmmakers who would previously have waited until their budgets were "feature fat" are now considering the short format, as well. Shorts still serve their traditional purposes, of course. They're great calling cards, learning tools, and testing grounds for ideas and techniques. But for movie­makers who have just made, or are thinking of making a short, aspirations are usually higher. They want their work to get seen, but these days they also want them to generate a bit of cash. Toward that end, the following is a brief primer on short film marketing.

YOU WON'T GET RICH BY making shorts. Not yet, anyway. While cable channels and distributors are notori­ously tight-lipped about amounts they're paying and amounts the films are generating, with rare exceptions the range seems to be between $5,000 and $50,000 during the film's commercial lifespan (which can be as long as five years, though the highest royalties will likely come early in the distribution phase). Still, because shorts are so comparatively cheap to make, those amounts are not insignificant. As more moviemakers, including some who have Academy Awards to their credit, turn to shorts, the competition promises to get increasingly fierce. Making the film takes guts but, as always, that's only half the battle. The glory comes in being able to crack the market.

AtomFilms

If you've ever tried to self-market a movie of any kind, you know how time-consuming and expensive the process is. Not only is it dif­ficult to find and submit to hundreds of potential buyers worldwide, it's very costly to even make the calls and send the tapes. What dis­tributors have that you probably don't are connections and time. They know who's acquiring shorts, what their tastes are, and how to posi­tion the product so that it gets noticed. Perhaps most importantly, they have ongoing relationships with buyers-and they get their phone calls returned.

If you're working with a distributor of short films, like AtomFilms, Apollo Cinema, Forefront Films or Big Film Shorts, you can expect them to devise a marketing strategy aimed at the usual suspects-cable and network television, airlines, colleges, broadband, etc. What you may not know is that they'll also work to get you exposure over the internet, put together a promotional package including synopsis, bios, and pro­duction stills, and will often help with a festival strategy. A typical path for a high-quality short might go like this: First, major national and international cable channels (Sundance, Bravo, Encore, IFM, Canal Plus, Channel 4, The Independent Film Channel, Bravo, the newly launched Short TV, BBC, etc.), which will expect an exclusive license on the film for a period of one to three years. Simultaneously, your film can be broadcast on the internet and, in some cases, the cable channel will allow you to license the film to a venue such as an airline. Companies also license short films for video and DVD compilations (Short Cinema Journal by Polygram is a leader), or sell them to various other secondary exhibition venues. Essentially, you can expect these distributors to work to sell your short and have it shown anywhere possible, worldwide. After the first license expires, the distributor can then take your film to regional programmers, where the contracts are typically not exclusive.

Big Film Shorts

These companies are in business to sell short films, and they have a vested interest in seeing that your film makes money. If you've sub­mitted a copy of your short to a distributor, and it believes the film has potential in the marketplace, the distributor will attempt to acquire it. Sometimes it will even pay an up-front sum for acquisi­tion. Most commonly, though, there is no advance; as with many feature distribution deals, the moviemaker is paid a percentage of the royalties from sales the distributor makes.  AtomFilms has added a new twist with their "Artists' Fund" that grants stock options to their moviemakers and gives them a stake in the entire company.

If you're about to begin the hunt for a distributor for your short, do your homework. Familiarize yourself with the outlets each typ­ically sells to. Can you name some of the films they've acquired? Does yours fit the bill? Be sure you have a clear idea of the aes­thetics you need to achieve to succeed in the marketplace. Short film distributors and the buyers are very selective, so the more infor­mation you have, the better prepared you'll be. Watch the Sundance Channel, IFC and ShortTV so you'll know if your short film will be suitable for a particular outlet. This will also help you understand the marketing strategy your distributor develops, and will help you make an intelligent assessment of sources of royalties.

The four major short distributors mentioned above are beginning to carve out niches for themselves. Forefront Films has been licensing shorts since 1992, and as such was the first American company to spe­cialize in licensing shorts around the world. Forefront generally acquires 15 shorts a year and currently has close to 120 in its library. Its "goal in representing short films is twofold-to promote and license shorts for sales around the world, and to develop relationships with talented film makers to produce feature films, and to manage their careers," says Harold Warren, president of Forefront. In 1997, it produced its first feature film, Relax, It's Just Sex.

Apollo Cinema

Forefront Films began to focus on shorts because of the sheer quality and the bulk of material available. They take pride in discovering tal­ented, up-and-coming directors. Some of their filmmakers include Mark Christopher (Miramax's 54), Alex Sichel (Fine Line's All Over Me), Chris Eyre (Miramax's Smoke Signals) and Lisa Cholodenko (October's High Art). They boast a long list of festival award winners. 

Megan O'Neill, vice president of sales, said, "Most short filmmakers have no idea that they can receive thousands of dollars over time for their work." To achieve this, Forefront markets films to 55 broadcasters around the world, including North America, Australia, Europe and Asia. They also license shorts to DVD and video compilations, air­lines, education markets and occasionally to theaters. Traditionally, the bulk of revenue for a short film comes from television distribution.  This is starting to change with emerging markets such as DVD's, and will shift further when the internet becomes a source of revenue for filmmakers.

Forefront works with its filmmakers to ensure they're informed about distribution, and helps each plan a festival strategy. The company prides itself on being selective, but it will look at any film under 30 minutes. If it believes in a film strongly, it will also assist with clearance issues when necessary. To submit your film, email to: forefront-films@sprintmail. com

AtomFilms burst onto the short film dis­tribution scene on March 1 of this year and already occupies a unique position between the online and offline worlds. Mika Salmi's decision to launch AtomFilms is rooted in his love of short AtomFilms and a desire to work with film­makers. This affection for the medium, combined with his strong internet back­ground, has helped build a company committed to bringing the best in short entertainment to every conceivable audi­ence. AtomFilms uses the internet to get wide exposure for its works and is trying hard to get short films to mainstream theaters by using the traditional media to increase consumer awareness about enormous body of entertaining work that exists. It distributes shorts across a broad range of media, including television, the internet, broadband services, home entertainment companies and airlines. Its website offers a proprietary catalog of short films and animations. Atom's distribution partners include HBO, @Home, Go Network/Infoseek, Sundance Channel, Warner Bros. Online, Continental Airlines, Air Canada, RealNetworks, Reel.com, Mr. Showbiz, Broadcast DVD, Film.com, College Broadcast Network, Air New Zealand and SonicNet. It also works with film organiza­tions to make its content more widely accessible, including the American Film Institute, the Australian Film Commission and the Norwegian Film Institute.

Atom's belief in the internet stems from Mika Salmi's belief that fans of short and independent film tend to be a widely dis­persed population, and the internet is the one medium that allows this audience access to material that traditional channels haven't. Salmi thinks consumer tastes in general are shifting to more independent, thought-pro­voking films. Because the marketplace offers no clear model for this approach, Salmi knows he's taking a big risk with AtomFilms. He also knows he'll be OK as long as his company continues to be as cre­ative as its filmmakers.

AtomFilms

Initially, Atom solicited films, but it now receives hundreds of submissions per month. Its titles are diverse, distinguished, and growing, and include Academy Award nom­inees, Hollywood stars, festival favorites, and animations of every genre and style. It now has four acquisitions executives who screen submissions and scour the festivals. The acquisitions team works closely with the marketing team when consid­ering a movie.  Decisions are  based on overall quality and the film's market­place potential. If the company rejects your film, it will still send a letter of explanation with details.  It also keeps track of submissions in the event that a future opportunity develops for the film. A note of caution-clearances are key. You need to have releases for actors, contracts for music rights, and clearance rights for product placement. As opportunities for short films increase and the stakes get higher, so does the risk of legal action for buyers who air shorts that aren't properly cleared.

Motivated by a strong desire to give back to the artist, the company recently estab­lished the AtomFilms Artist Fund, designed to give AtomFilms' artists a stake in the company and provide incentives for continued working relationships. This is a broad-based stock option program designed to build a solid community of filmmakers and to demonstrate Atoms' support for the artists. The idea for this program came from Salmi's experience in the music industry, where too often he saw artists getting the short end of the stick. His goal is to make filmmakers feel like they're a part of the company's effort and give everyone a stake in the business.  Atom also puts a strong emphasis on communication and a desire to work closely with its filmmakers. It encourages its filmmakers to communicate openly and provides quarterly updates on the sales figures.

Big Film Shorts has been in the business of distributing films for two years. While working in production, it saw a lot of great short material and had a suspi­cion that short film would take off as new technology began playing a bigger role. David Russell, one of the partners at Big Film Shorts, sees short films as "great gems of truth and enjoyment." As a company it tries bringing that same sense to the general public.

Apollo Cinema

Like AtomFilms and Forefront, Big Film Shorts distributes to cable, nationally and internationally, as well as regional shorts programs and airlines, and via video and DVD compilations. BFS also exhibits short films and accepts submissions on its website, www.bigfilmshorts.com. They now receives about three submissions per day and reviews all the films they receive, acquiring only a small percentage. Big Film Shorts also scours film festivals in search of new material. Their cri­teria is much the same as AtomFilms. First, does the film work as a great short? And is there a market for it? BFS will acquire films that range from the most experimental to the most mainstream, in drama, comedy, gay or animation, and shot on film or video. They will not consider acquiring shorts that are bogged down with clearance issues.

The other recent entrant into the distribution arena is Apollo Cinema, formed by former acquisitions executive and MovieCorp President Carol Crowe in July of 1998 "in response to the burgeoning global marketplace for the short film genre." Apollo, which makes Apollo Cinema the worldwide sales of shorts its exclusive business, seems to be an aggressive advocate of short film­makers, and counts commercial director Spike Jones and student Academy Award winner Chris Sheridan among its clients. In April, Apollo sold The Robber, the first short ever to appear on HBO's Cinemax. It has also formed important ties to distributors abroad, and negotiated the first television sales agreement for a foreign short film on Japanese television. Contact apollocinema@earthlink.net.

Once you've turned your film over to a dis­tributor, be sure to stay involved. It's tempting to just sit back and let royalties pour (or trickle) in, but it's best to check in with your distributor from time to time. Being obnoxious isn't nec­essary, but being a bit of a "squeaky wheel" never hurts. Of course, you may not have the time if you're busy wading through offers from studios, agents and managers clamoring to see your next script. Your job is to make a great film that you're proud of. Even if it's not acquired by a dis­tributor, though, don't despair. You can take your film to festivals, post it on the internet, and submit to programmers on your own. Perhaps your film has some spark that the distributors didn't see. Just be realistic about your expectations and about the sheer quantity and amazing quality of the work that is out there now-and be sure to keep trying. MM