Basner Wins Game Changer Award, Teaches How He Outsells Hollywood

**Basner Takes Game Changer Award at Zurich Summit**

Glen Basner, the founder and chief executive of FilmNation Entertainment, was awarded the Game Changer Award during the Zurich Summit, part of the Zurich Film Festival this weekend. The ceremony took place on Saturday night as part of an industry gathering that promotes transatlantic film partnerships.

The award recognized Basner’s influence in shaping international sales, financing and production for independent cinema.

On stage, the award was presented to Basner by German Oscar‑winning director Edward Berger, who also moderated a one‑hour conversation about their careers. The discussion traced Basner’s journey from a sales rep in his father’s garment shop to leading one of the world’s top independent sales and production houses.

It highlighted how early collaborations at New York’s Good Machine set the stage for future projects, including Berger’s 2024 hit Conclave.

Berger reflected on the decade‑long friendship when he said, “32 years later, it’s such a full circle moment.” Basner recalled his own early days selling sweaters while helping friend Edward Burns on The Brothers McMullen, eventually landing a role on Burns’s She’s The One.

Their reunion in 2024, when they co‑produced Conclave for more than $100 million worldwide, underscored how their paths intertwined across the industry.

## Background & Context

Basner’s first foray into film sales came while he was working in his father’s knitwear shop, where he sold women’s sweaters for five years. A chance encounter with Edward Burns led him to assist on Burns’s debut feature, The Brothers McMullen, and later on She’s The One, both produced by Good Machine.

Berger joined Good Machine a year and a half later in 1994, and their mutual experience in the company forged a long‑standing professional partnership.

During the early 1990s, Good Machine nearly collapsed after wrapping director Ang Lee’s The Wedding Banquet.

Berger recalled that the company “taught us to go through hard times and get stronger… around the time of The Wedding Banquet, the company was basically bankrupt… they decided let’s cancel the photocopier and scrape every last bit together and go to Berlin.” The film later won the Berlinale Golden Bear and earned $23 million on a $1 million budget, making it the most profitable U.S. film of 1993.

In 2008, Basner launched FilmNation Entertainment as a sales company after stints heading sales at Focus and The Weinstein Company.

He said creating his own firm was a natural step because “my father had his own business, and I wanted to be like my father… so I always had this entrepreneurial bug that I wanted to test my mettle by being on my own.” FilmNation expanded over the next decade into finance, production and television, with notable titles such as The Big Sick, Promising Young Woman and Conclave.

## What People Are Saying

Basner emphasized the ethical foundation of his career by saying, “I was taught that you could sell movies around the world and not lie to people… that you can value and appreciate the relationships that you develop around the world and treat people not just as if you’re selling them a product, but that you are really delivering them a work of art, and that you’re there to help support them as they go and release the films country by country.” He used this principle to guide FilmNation’s international sales strategy.

Berger highlighted the resilience cultivated at Good Machine, noting that “It taught us to go through hard times and get stronger… around the time of The Wedding Banquet, the company was basically bankrupt… they decided let’s cancel the photocopier and scrape every last bit together and go to Berlin.” He later recalled tension during Conclave’s final edit, saying he wanted to rush to Venice but Basner advised against it, which ultimately led to reshoots and a stronger cut.

FilmNation’s portfolio has grown to include award‑winning features such as Anora, Maria and upcoming titles Bunker, Talent for Murder and I Play Rocky. Basner noted the company’s expansion into production and television was driven by confidence from past successes and the convergence of film with other entertainment formats.

Basner has cautioned against the temptation to attach well‑known talent as a safety net, noting that “Sometimes we have to take more risk on an unknown actor because they are the best person for that role to make the best version of the movie.” He stresses trusting the filmmaker’s vision over attaching star power to secure financing.

## What Happens Next

Basner announced that FilmNation is ramping up production after hiring former 20th Century Fox, DreamWorks and Universal Pictures executive Stacey Snider as Chief Creative Officer in January.

He said the new role will help the company “take more risk and be more productive.” Basner added that they plan to make four films and a television series this year, with another four films already in pre‑production for next year.

Basner also highlighted FilmNation’s commitment to developing projects that blend cinematic storytelling with television and other media, noting that the company now operates in New York and Los Angeles.

He said early investment decisions are guided by market confidence and a willingness to trust filmmakers’ visions, rather than relying on pre‑packaged talent.

In the coming months, FilmNation plans to close deals for its upcoming slate, including the pre‑sale of Florian Zeller’s Bunker at Cannes 2025 and securing a U.S. distribution partnership with Sony Pictures Classics through CAA Media Finance.

The company’s strategy emphasizes transparency in valuation and a collaborative approach with filmmakers, aiming to bring more nuanced, high‑quality independent films to international markets.

FilmNation also keeps developing several high‑profile projects that are currently in various stages of pre‑production, including the French thriller Bunker, the crime drama Talent for Murder, and the comedy I Play Rocky.

While specific release windows remain unannounced, the company has positioned these films for a staggered roll‑out across theatrical and streaming platforms in 2026 and beyond.

With a legacy of turning niche projects into box‑office successes and a forward‑looking slate that spans film and television, FilmNation’s new leadership and expanded resources position it as a significant player in the global indie market.