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British British Studio Working Title has warned that the British government plans to weaken copyright laws to appease AI developers constitute an “existential threat” for the country’s creative industries.
“We have been making movies there for 40 years [and] He has gone from a cottage industry to a very serious contributor to GDP, “said Eric Fellner, who has co -chaired the group behind the Bridget Jones franchise since the early 1990s.
“Creative industries are now one of the most important parties in the British economy,” he told Financial Times. “If they want to give IP to technological companies, it will make a huge bump in our future ability to operate and our future ability to generate income here in the United Kingdom.”
The ministers consult plans to demand that artists, authors and businesses “undress” to allow their work to be used to form AI programs. The proposals were criticized by thousands of British musicians and artists, including Kate Bush, Damon Albarn, The Clash and Hans Zimmer.
The making of films has become a major source of economic growth for the United Kingdom, with a system of generous tax credits attracting Hollywood studios to make their successful films on sites such as Beftden, Pinewood and Shepperton.
Television production expenses in the cinema and high-end in the United Kingdom were 5.6 billion pounds sterling in 2024, according to the BFI, an increase of almost a third in 2023 and before the expenses of precovid production 2019.
The working title is best known for some of its Romcoms with Richard Curtis such as Notting hill,, Four weddings and funeralsAnd Love in factBut also offers a large portfolio of more serious dramas such as Senée,, Tinker Tailor Soldier Spyand more recently Substance.
Bridget Jones’ fourth film, which opened this month, was to be the most important in the history of the company, said Fellner, predicting that he would exceed the group’s last record of 48 million pounds.
“Each territory has opened its doors larger than all three other Bridget films,” he added. Bridget Jones: Mad About the Boy Made the highest opening for a romantic comedy in the United Kingdom, as well as the highest opening for a working title film.
Fans have flocked to its heat and comfort at a time when the news is often dark, while criticisms say that the film has played in a trend for popular authenticity with young generations. He added: “How does a crowd of teenagers appreciate a story about people in their fifties with sorrow and tries to go out with it?”
Meanwhile, older generations remember the first film – and the popularity of the original and taboo book – which means a nostalgic evening with an old friend.
Fellner said that the public had been “pleasantly surprised by the fact that the script is really good.. The story is much more significant and emotional that I only think about anyone.”
The franchise had been unusual when he saw the actress who played the role with the character of the films, he said.
“Normally, people tend to redesign,” he added, but “we love the character and are really proud of the fact that he is very rare for a character to have stories told over 20 years, and the actress aged with the character”.
He said that too often with consequences “creativity is tired.” It is very, very difficult to continue to be original in a world where you have already told three stories ”.
