We started making original content on social media in 2025.
500+ million viewersacross our network in our first year. Now we have our sights set on something bigger.
GEM is a studio built to make original films at blockbuster scale. We find them, we develop them, we finance them, and we release them worldwide, alongside producers, financiers, and studios who want to be in business on originals again.
Original films stopped getting made because nobody could tell which ones would work, and we can. We built technology that nobody in Hollywood is capable of building, and we know modern audiences better than anyone in the business. We find projects with massive box office potential that everyone else passes over. We make smarter creative decisions at every step, from the script to the cast to the budget. We give the filmmakers we back the control and the clarity to take their film as far as it can go. Where the industry sees a gamble, we see a film worth making, and we have the means to back it.
We proved this on social media first. Since 2025 we have made original content with our technology behind every decision, and more than 500 million people have watched it. Now we are bringing the same approach to feature films.
We are looking for originals with billion-dollar ceilings, and we take them through development, financing, and a worldwide theatrical release, with partners.
Overlord is a science fiction feature from an original screenplay we found outside the studio system. Budget and casting are underway.
Selznick is the most powerful AI creative partner ever built, and it lets us do things nobody else in this business can do. It lets us read thousands of times more material than any studio and know which ideas can be enormous. It lets us project what a film will earn from the script alone, and sharpen that projection with every decision that follows. It lets us find the right actor or director for a part out of everyone in the industry, not the short list, and know what each one adds. It lets us set a budget where every dollar shows up on screen. And it lets us hand filmmakers the same numbers we have, so they make the creative decisions and we make the financial ones. Here is each of those, in detail.
The daring vision, the idea that resembles nothing already made, the writer with no representation: these rarely reach a studio, and when they do there is nothing comparable to measure them against. Selznick reads thousands of times more material than any story department could, from sources far outside the usual channels, and tells us which ideas can be enormous.
From the script alone, before anyone is attached, Selznick projects the full range of outcomes: downside to upside, domestic and international, market by market. Every decision after that sharpens it. A new draft, a lead, a director, the budget, the release: each one moves the number and narrows the range. By the time real money is committed, we know more about the film than anyone has known about a film before it was made.
Selznick knows the full career of every working actor, director, writer, and key crew member: what each delivered, on what material, at what budget, alongside whom, and how much attention they carry today. For any role in any film it names the people best suited to it and what each one adds to the box office, and often they are people no one had yet considered for a part like it.
Selznick reads a script for what it costs, line by line: locations, cast size, night shoots, period detail, stunts, what has to be built or created digitally. It also tells us which of those costs show up in the box office and which do not. That is how we decide where the money goes: the director’s vision funded at the level it needs, the spend placed where the audience will feel it, and a budget the film earns back.
We decide whether to finance a film and at what budget. Within that budget the filmmakers decide what the film is, and they work with the same projection we do: what a draft does, what an actor adds, what another shooting day buys on screen. Every note arrives with a number attached, so development stops being an argument about taste and becomes a decision about the film. When filmmakers have the numbers and the room, ambition stops being in conflict with a sound investment.
We make the financial decisions with Selznick in front of us. The filmmakers make the creative decisions with the same thing in front of them.
A sequel arrives with a number attached: prior grosses, a known audience, a cast that has opened before. An original arrives with nothing, so it gets judged on instinct, and instinct is conservative.
The result is visible in the box office. Originals took most of the global gross at the start of the century and take a fraction of it now, not because audiences stopped showing up for them, but because fewer get made, and the ones that do get made are underfunded and underpositioned. The demand never went anywhere. The ability to see it did.
We can measure them, and that is why we can pay properly for material nobody else will touch, fund it at the level it deserves, and release it with a projection behind it.
Share of global box office from original films
Originals earned $19B worldwide in 2000 and $6.5B in 2025, in today’s dollars.
We are looking for a small number of partners on our first original films: producers, financiers, and studios who want to come in on a film with the projection, the budget, and the full case in front of them before they commit a dollar. That is the conversation we want to have.
If you have material you want evaluated, or a mandate you want us sourcing against, we do that for our partners as well. Writers and creators: send us your work. Everything that comes to us gets read.
Entertainment is in my blood. My dad spent 27 years at Disney, I grew up watching every film they made, and I interned at Walt Disney Studios in college. Then I spent my career building technology and AI at some of the world’s leading technology companies, including Uber, where I managed hundreds of millions of dollars of spend, and I helped raise $15M in venture capital along the way. When I looked at how this industry was using technology, all of it was aimed at making films cheaper. Nobody was using it to make better decisions about which films to make, or how.
So in 2025 I built Selznick myself and started making original content on social media with it behind every choice. In its first year that content reached more than 500 million viewers across our network. Now we are taking the same approach to feature films.
This is the most abundant moment entertainment has ever had, with more ways for a great story to reach an audience than at any point in history. We are wide open, anyone can bring us an idea, and we have a direct relationship with audiences that studios built for a different era do not. We are here to build the greatest entertainment company of all time.
Anuj Kommareddy, founder (LinkedIn)
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We publish research findings, product updates, and announcements on upcoming productions and partnerships.
Latest postJoker was “expected” to make $248M. It made $1.33B. We studied every English-language film to find the directors who do this again and again, and what makes it happen.
Read it →Send us a script, a package, a finished film, or a mandate. We read everything that comes to us.