Over the past 16 years, Working Title has made Britain’s biggest-ever movies including Notting Hill, Bridget Jones’s Diary, and Bean. The company headed by Tim Bevan and Eric Fellner is responsible for 96 films grossing $4.8 billion worldwide, 60% of which came from Universal’s 46 Working Title releases. (Working Title started off indie until 1992 when it was acquired by Polygram until 1999 when Universal bought Polygram and with it, Working Title.) Its movies have won six Oscars, 26 Baftas and prizes at Cannes and Berlin. Forget Korda. Ignore Puttnam. Bevan and Fellner are easily Britain’s most successful cinema magnates. Yet something almost always goes wrong every time they veer away from Richard Curtis and Rowan Atkinson, who are responsible for nine out of the top 10 highest-grossing Working Title films. There also has been a succession of political films and expensive thrillers. When it comes to deciding what to make, Bevan says everything starts with passion. So A Serious Man, United 93, Elizabeth:The Golden Age, Burn After Reading, and The Interpreter put him in business with big stars or big directors or both. “These are A-list people that most producers would kill to work with. More than that, they feed your mind,” Bevan told me in a recent interview. It was Fellner and Bevan who gave Joe Wright a huge break and $28 million to direct Keira Knightley in 2005′s Pride and Prejudice, which made $121 million in worldwide box office gross and resulted in 4 Oscar nods for Focus Features/Universal. But Universal lost $50 million on Paul Greengrass directing Matt Damon in 2010′s underperforming Green Zone after its gross budget swelled from $80 million to $130 million (not including tax incentives).
“The last batch of movies represented them breaking free of the Working Title formula,” says one producer who’s worked with them. “In Hollywood, you’re judged by how you’ve just done, not what you’ve made over the years. So they’ve gone back to the formulaic stuff. It’s depressing.” Still, retreating “back in their wheelhouse”, as the American phrase goes, is also smart business. For now, Working Title is playing it safer. Indian Summer, a big budget movie about the last days of Britain’s colonial rule of India in 1947, has been dry-docked even though Joe Wright (Atonement) was set to direct Cate Blanchett as Lady Edwina Mountbatten. As Bevan says in an interview with me, “You don’t produce a misfire and then not take heed from it.” Fellner adds: “It’s a consolidation period for us. A retrenchment period.” To that end, Working Title made six staff redundant in July last year, reducing headcount to around 40, which is historically what it’s always been.
Working Title’s latest release is the sequel to Emma Thompson’s Nanny McPhee Returns which Universal releases August 20th. Upcoming projects include Johnny English Reborn starring Rowan Atkinson and Gillian Anderson, as well as the Richard Curtis comedy Lost For Words, and a third Bridget Jones movie. The first Johnny English, which cost $40 million to make, earned just $28 million in America but did enormous business internationally grossing $132 million overseas. That’s typical: Working Title movies routinely make 2/3s of their gross outside of North America. Bevan tells me, “The thing that always sets us apart is that we’ve always done so well in the international marketplace. If there’s going to be any growth in this business, it’s going to be outside of North America.” And yet, waiting for Bevan and Fellner in their office building, I realize that Working Title has always struck me as being intensely London — as much a part of the city as red double-decker buses, Trafalgar Square, and pigeons. Even its logo used to look like the symbol for London Underground.
When Bevan and Fellner first sat down with then Universal CEO Edgar Bronfman Jr in 1998,