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|Birth Place:||England, GB||Profession:||Producer ...|
"It's both a curse and a blessing to be based in London. It's good that a lot of filmmakers are attracted to the allure of being able to come to us and we can finance their $40 million to $50 million movie and they don't have to work within the Hollywood studio system. On the other hand, it's a curse because if we're not physically in town in L.A., there's an eight-hour time difference. You miss people. Opportunities arise that disappear." --Eric Fellner in THE NEW YORK TIMES, March 16, 1997
"There are far more British directors and actors around than there are scriptwriters. That's the essential area of development for te British film industry right now. There's all this talk about shelves full of British films that can't get distribution, but I don't think there's a decent film out there that can't get a deal. Most of them just aren't very good." --Fellner, quoted in the London TIMES, May 17, 1998
"They have learned their lessons from their American counterparts: think big, be brave, take risks and look beyond the project into the target arena.
As producers, they involve themselves with every aspect of the business of filmmaking, through the "fun" creative part involving script development, casting, choice of director and so on, right through to the non-creative post-shoot period which includes post-production, marketing, testing, distribution and promotional campaigns. Unlike many of their British colleagues, they are not auteur snobs but rather see themselves as international producers operating in a global market. And they have an unerring instinct for what will sell. They will put as much effort into promoting a relatively high-risk venture such as the Coen Brothers' 'Fargo' as they will with a more obvious crowd-pleaser like 'Bean', with equally impressive results. --From "Meet the Working Title Boys" by Neil Norman in London's Evening Standard, June 8, 1999.
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