CEO Glen Basner hailed “tremendous” figures as he announced on Wednesday [9] the overall grosses for all FilmNation films during the last calendar year.

The exact yield from 18 titles in territories licensed by the financing, sales and production company amounted to $468.5m.

Mirror Mirror was the top earner on $123.4m, followed by Looper on $111.1m. Both figures incorporate Canadian box office as Basner and his team licensed rights to both features in that territory.

Magic Mike generated $59.3m, Chernobyl Diaries $43.3m and House At The End Of The Street $41.9m. The last two films include US and Canadian box office as Basner and his team licensed rights to the pair in both territories.

“It’s not one or two movies [that performed well],” said Basner. “For an independent company to have such a strong slate one to 10 makes me feel great. Consistency is an exciting word for me.”

The overall worldwide box office for the FilmNation slate – which includes domestic distribution through companies that were already attached when FilmNation came on board as sales agent – climbs to $952.9m.

The worldwide box office for Mirror Mirror, which Relativity Media released in the US, came to $182.1m. Magic Mike, which Warner Bros released in North America, grossed $172.9m, while Looper, which FilmDistrict distributed in the US, finished on $167.4m.

FilmNation’s overall international territory grosses climbed 98% against the 2011 tally of $236.5m, while worldwide increased 66% against the $573.8m year-before haul. The comparison is unadjusted because FilmNation handled eight films in 2011.

Two of the 2012 crop came from the now-expired exclusive international sales and distribution arrangement with Relativity Media, namely Mirror Mirror and Act Of Valor. That deal ended last summer and Relativity has since hired Camela Galano to lead its new Relativity International division.

FilmNation said two of the 2012 releases, Magic Mike and Looper, were the highest independent grossers of the year worldwide out of all films financed without domestic distribution in place.

“We are able to identify movies, get them financed and into production and have a great sense of what can work around the world,” said Basner. “We don’t need to have US distribution on board early to validate our decisions, but of course we need their distribution when we have a film to release.”

Basner added: “Our figures are tremendous. Our distributors around the world are doing a great job with the movies.”

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