Working Title's Success Story

Tim Bevan and Eric Fellner of Working Title have usually let their logo on films do the talking. But they recently had a chat with Deadline during a prolific time filled with anniversaries. They've been together for 30 years at a company that will be 40 next year, which is quite an achievement.

They've had great success lately. Their movie "Ticket to Paradise" with George Clooney and Julia Roberts was a big hit. "Matilda the Musical" is playing in UK theaters and will be on Netflix elsewhere for Christmas. "Catherine Called Birdy" directed by Lena Dunham was released by Amazon, and "The Swimmers" by Netflix. "The Swimmers" has been near the top of Netflix's most - watched films globally since its release after playing at festivals like Toronto and Zurich.

Donna Langley, chairman of NBCUniversal's filmed entertainment group, has been a fan of theirs since they emerged with "Four Weddings and a Funeral" and formed a sort of repertory company with actors like Hugh Grant, Rowan Atkinson, and Richard Curtis. When she first got to the studio, she wanted to be the studio's liaison for Working Title. Others thought she was crazy as everyone wanted to work with them for their sophisticated English filmmaking.

Langley said Working Title changed from exclusive to first look some time ago. She thought they were better when they were prolific and didn't want to hold them back. She's not sure if "Ticket to Paradise"'s $165 million gross means a full return to rom - coms, but wasn't surprised they had such a success. She believes Working Title's rom - coms are not generic and always have a fresh take. With elements like an uncredited rewrite by Curtis and the pairing of Clooney and Roberts in "Ticket to Paradise", it was an easy yes for her.

Now, the Working Title partners will explain their recent success and the secrets of their long - standing partnership.

Deadline asked how long they've been at it. Tim Bevan said he and Eric Fellner started working together in 1992, though Working Title was formed in 1983 to produce "My Beautiful Launderette". Deadline noted that while the company turning 40 is notable, for them, the 30 - year mark of them working together seems more important. Eric Fellner said they like to think of 1992 as the start for this version of their partnership, and Tim Bevan agreed.

Deadline also pointed out that they seem like throwbacks to a movie industry golden age. They used to make British - centric films that relied on theater success which then led to other benefits. But now the industry is more about streamer algorithms, concepts over stars, and a lessening of importance on genres like the romantic comedy. So, how did "George Clooney and Julia Roberts in "Ticket to Paradise" happen?

The output content is:

The first section of the output is about the popularity of the movie Notting Hill and how it has attracted a younger audience. The second section is about the premiere of the movie and the positive reception it has received. The third section is about the home video release of the movie and how it has performed well commercially. The fourth section is about the importance of passion and belief in making movies, and the role of working title and Tim Bevan in the success of the movie. The fifth section is about the upcoming release of Matilda the Musical on Netflix, and the strategy behind it.

Film Industry Collaborations

Working Title partners Tim Bevan and Eric Fellner recently discussed their partnership with Matthew, Dennis, and the Roald Dahl Company, Luke Kelly, and Tim Minchin in an attempt to produce a film with Sony. They highlighted the challenges and costs associated with filmmaking, particularly when involving numerous child actors.

'Sony's Tom Rothman chose to find a partner, and Netflix became Sony's partner, financing and co-producing the movie with us, while Sony retained all UK rights,' Fellner explained. He further elaborated on the release strategy, stating, 'Sony releases it theatrically in the UK, and it won't come out on Netflix until six or seven months after the initial release.' This ensures a clean theatrical run in the UK without digital availability.

Adjusting to the new reality of distribution, particularly with 'Matilda the Musical,' poses challenges. Bevan noted, 'We have to accept the numbers presented by the streamers.' Fellner added, 'You don't have your finger on it the way you do in theaters.' The lack of transparency and constant reporting is a significant shift from traditional theatrical releases.

Bevan and Fellner also touched on the enduring appeal of Roald Dahl's work, with Bevan stating, 'It's a really great show with a great story that makes you laugh, cry, and smile.' Fellner noted Netflix's significant investment in the Dahl estate, aligning their interests in the film's success.

Discussing their relationship with Universal, which started when MCA acquired Polygram, Fellner said, 'We're very lucky because we have a home. Universal has been amazing to us, 100% getting behind a London-based production company.' Bevan added, 'We've been just as lucky with the writers, directors, actors, and group of people we've worked with, but we've been in a position to make that luck because we've been resourced.'

The partnership between Working Title and Universal has allowed Bevan and Fellner to focus on building creative relationships and develop films with British talent, a privilege they acknowledge and appreciate.

That's a lot of information to process. It seems that you are working on a wide variety of projects, from movies to TV shows. It's impressive that you have such a diverse range of creative projects in the works. Let's focus on one specific project and talk more about it.

1. It is the kind of movie Steve McQueen would star in if he were alive today.The given article content mentions the difficulties of finding crews and the need for new people. The concept mentioned is about breaking the cycle and spreading the idea to other areas, such as the Los Angeles area. The article also mentions the involvement of George Clooney and Bryan Lourd, who helped to make the idea a reality. The article concludes by mentioning the opening of the Roybal High School for Film and Television in downtown Los Angeles.

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