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The British film
industry dilemma:
Working Title want to make European films
for a worldwide audience.
They want to imbue them with European ideas
and influences and they can’t do these things
without the backing of a major Hollywood
studio.
The film was a massive hit in the USA, in part because of the view 'heritage
Britain' - a land of churches, old pubs and stately homes populated by 'classy'
English people with obligatory bumbling fools sprinkled across the social landscape.
It also helped that one of the stars American (Andie MacDowell).
Such an unexpected success gave Working Title international clout and reach, and
placed it at the centre of the Hollywood. It also placed considerable pressure on the
company to become the romantic-comedy-heritage-film company, a pressure it
resisted, but did not reject, realizing that a popular film could help support a number
of productions with less potential for such success yet still deserving of being made.
A quick glance at the list of films in its catalogue reveals a list of over 100 films
produced since 1984 - probably the only common thread among them is the desire to
do something different to what is being produced at the time, and to do it well. It is the
ability to make films for specific audience groups, and to not be pigeon-holed that
has enabled the company to ensure that its work remains fresh and successful.
So what is a
Working Title film?
It is easy to categorize them (dismissively) until you look through the catalogue and
realize that this is a company categorized only by diversity and the ability to
detect changes in the market that enable a reorientation of direction
How do Working Title choose which films to make? Fellner says “projects get
championed by individuals in the development department and these
'percolate' their way up to the top. Tim Bevan and I then both take the
decision on what to greenlight.”
Working Title and
Co-production
Co-production has long been a method of sharing risk within the film industry,
and when Working Title began its life, co-production was merely another
revenue stream that often involved pre-sale or pre-distribution deals on world or
national rights. Since one of Working Title’s principal partners was Channel
Four, and Channel Four pioneered international co-production in the UK, it is no
surprise that Working Title adopted and extended the model.
Working Title took co-production further when formalizing their relationship with
PolyGram (later Universal) where US investment of 30% did not prevent them
from obtaining EU/UK tax advantages. A 30% stake in the budget + Hollywood
support clearly stimulates other investors willingness to get involved in a film. It is
this advance in the model that radically enhanced the production processes and
values in Working Title films.
How does it work?
“The Working Title philosophy has always been to
make films for an audience - by that I mean play in a
multiplex. We totally believe in this because we
know it is the only hope we have of sustaining the
UK film industry.”
Despite its famous name, the structure at Working Title is small. It employs just 42
full time staff, split between the main Working Title production arm and its recently
closed low-budget offshoot WT2 under Natasha Wharton.
Released in 2009/10 are 10 films including the Richard Curtis comedy The
Boat That Rocked, political thriller State of Play based on the successful
BBC television drama but re-imagined in Washington and Green Zone, an
Iraq war thriller that reunites the Bourne series star Matt Damon and director
Paul Greengrass.
Trouble ahead?
Film Year Budget (est) Worldwide Gross
(est)
The Boat That Rocked 2009 $50 million $36.3 million
As you can see, not all of their films have been unqualified successes - as one
would expect in the movie industry. Earlier flops include Captain Corelli's
Mandolin (2001). It was their most expensive film to date, with a budget of $57
million and, ironically, the one that seemed most likely to succeed. Adapted from
the popular book of the same name, with an all-star cast, it still managed to
disappoint with the critics and at the box office making only $62 million worldwide.
Does it always
work?
Maybe the existence of free versions on the Internet did less to drive down demand
for the film, but instead fostered awareness and interest in the movie above and
beyond what the producers were able to do via PR and advertising?
Despite being a very successful business model over the past 25 years Working
Title have had a series of flops that would have ‘sunk’ a UK film company that
lacked the backing of a Hollywood studio.
Despite making films with tried and trusted talent in recent years (Richard
Curtis, Matt Damon) box office has not been great.
How do you think Working Title can be successful again?
http://www.launchingfilms.tv/index.php
http://filminfocus.com/focusfeatures/film/pirate_radio/
http://www.workingtitlefilms.com/
http://www.workingtitlefilms.com/film.php?filmID=120
http://www.filmeducation.org/theboatthatrocked/activity3.html
http://benjaminwigmore.blogspot.com/2009/04/boat-that-rocked.html