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The British Film Studio Labor Boss has warned that the United Kingdom Government plans to weaken copyright laws to calm developers and it is a “existential threat” to the country’s creative industries.
“We’ve made movies there for 40 years (and) she has gone from a cottage industry to a very serious contributor to GDP,” said Eric Fellner, who has co-chaired the group after the exclusivity Bridget Jones since the early 1990s.
“The creative industries are now one of the most important parts of the United Kingdom economy,” he told the Financial Times. “If they are going to donate IP to technology companies, this will make a great trace in our future ability to operate and our future ability to generate income here in the UK.”
Ministers are being consulted with plans to ask artists, authors and companies to “remove” to allow their work to be used to train it. Proposals have been criticized by thousands of British musicians and artists, including Kate Bush, Damon Albarn, The Clash and Hans Zimmer.
Making the film has become a major source of economic growth for the United Kingdom, with a large tax system that attract Hollywood studios to make their blocking films on sites such as Leasden, Pinewood and Shepperton.
The costs of producing film and high level television in the UK were £ 5.6 billion in 2024, according to the BFI, an increase of nearly one-third in 2023 and ahead of pre-Kovid 2019 production costs.
Work title is best known for some of his romcoms with Richard Curtis as Notting hill, Four weddings and a funeralAND Love in factbut also has a wide portfolio of more serious dramas such as Senna, Tinker Tailor Soldier Spyand finally Substance.
The fourth film Bridget Jones, who opened this month, was set to be the largest in the company’s history, Fellner said, predicting that he would exceed the last record for the £ 48m group.
“Territorial Territory has opened larger than any of the other three Bridget films,” he added. Bridget Jones: Crazy for the boy It achieved the highest opening for a romantic comedy in the UK, as well as the highest opening for a work title.
Fans have accumulated in his warmth and comfort at a time when the news is often gloomy, while critics say the film has played in a trend for the authenticity popular with younger generations. He added: “How do they enjoy a crowd of teens a story for people in their 50s by struggling with sorrow and trying to date?”
Meanwhile, the older generations remember the first film-and the popularity of the original book, taboo, which means a nostalgic night with an old friend.
Fellner said the audience was “pleasantly surprised by the fact that the script is really good. . . The story is much more significant and exciting than I think someone predicted it. ”
The exclusivity had been unusual to see the actress who played the age of the character in the movies, he said.
“Normally people tend to reassess,” he added, but “we love the character and we are really proud of the fact that it is very rare for a character to get stories told over 20 years, and the actress ages with the character.”
He said that very often with continuity “Creativity is tired. Not very very difficult to continue to be original in a world where you have already told three stories. “
