Eric Fellner, CBE (born 10 October 1959) is an English film producer. He is the co-chairman (along with Tim Bevan) of the production company Working Title Films.
The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.
I love all my Wrights and it would be impossible to say which one I love more, but if you really pushed me, it would be Joe.
For me, I can't tell you if the film is good or bad, all I can say is for me the film is way better than I had expectation of us being able to make. So for me that's the most important thing. Have we exceeded our dream in terms of what it could be?
Then something fails and they're all out again, but DVD revenue is disappearing, you know, it's not disappearing but it's going off a cliff and what that's done is it's polarized the industry in a way that I've never seen before where studios are making less, they're bifurcating their choices where they're either going very, very big or they're just picking up a few rights on an acquisition basis or making really small things.
That middle ground of films used to be 70, 80, 90, 100; now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.
The shifts happen on a regular basis, but it's like a cycle. So things come in and out of vogue and then five years later they're back in vogue. Or there seems to be a theory that this is the way the industry will go and everybody goes over that way and then something happens to the country and you're back again at the place you were.
The U. K. needs more first class studio space to encourage the growth of the film and TV sector.
The writer Richard Curtis is a genius.
There's always that possibility. But, it would take a hell of a lot of work. Because unlike a movie where you just have to do a little ADR and then some mixing, we've actually got to bring the orchestra back because there is music, as you probably noticed, right the way through the film so you have to orchestrate all of that extra time.
People are piling into England, there's lots of studio films happening there. When we budget our films we multiply it by 1. 55 it's much easier than when we multiply it by 2 so the cost looks a lot less in dollars, because everybody talks in dollars in terms of finance. And then the shift that I think is coming, I hope is coming, is movies made in a. . . "simple" is the wrong word, you visit movie sets all the time I imagine, the whole process has just got so big.
So that is new in terms of where I've seen the shifts. Otherwise, it's all about taste and taste just keeps going round and round and round.
Technical problems are like gremlins. They come and go.
But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.
Making movies is like herding cats.
It wasn't like we cut songs out; we cut bits of songs, bits of action or bits of whatever. So we would have to go back in get a full orchestra re-orchestrate it, re-score it, re-record it. It's a massive job. But, if there's a demand we can always discuss it.
In terms of putting the cast together, no problems. You know, the only problem always is just price-point. Our ambitions as we get older, all of us, is to try and do more.
The problem with Hot Fuzz and Shaun of the Dead is that they worked brilliantly in the UK, the US, and Australia; internationally they haven't worked so well because people don't know the films as well as in the English speaking languages. So when it comes to putting the budgets together it's quite challenging. So those are the problems you have.
The idea that the Tony committee and the New York theater community as a whole have embraced Billy Elliot is very, very exciting.
Do we have good writers, producers and actors in the U. K. ? Yes we do.