Eric Fellner joined Working Title Films in 1992, and is now co-chairman of the company that’s made dozens of movies including “Four Weddings and a Funeral” and most of the Coen brothers films. This year, Working Title is behind “The Danish Girl” and “Legend”; next year it will release the Coens’ “Hail Caesar,” Edgar Wright’s “Baby Driver” and sequel “Bridget Jones’s Baby.” In 1983, Fellner was producing music videos, and his nomination for an American Video Award for Fleetwood Mac’s “Gypsy” earned his first Variety mention.

How did you land the “Gypsy” gig?

I started producing music videos in early ’80s as a very excited 21-year-old. It was a new industry. In England, you couldn’t get into a film union without experience, and you couldn’t get a job without the union. I was very lucky this new cottage industry was starting. I got to be producer.

Do you remember the project?

“Gypsy” I remember very well. Russell Mulcahy was a leading music video director. We shut down Hollywood Boulevard at night, and brought a giant crane (for the camera). It was like a movie production, with Stevie Nicks dancing down the street.

What do you remember about that time?

I produced countless music videos, maybe hundreds: Spandau Ballet, Duran Duran. It was pre-MTV; you could do anything. I then went to make movies — “Sid & Nancy” in 1985. Since then, we’ve made 70-80 movies, maybe more.

How does Working Title manage to put out such successful movies?

I’ve been quite a bit lucky. I have a business partner and incredible team of creative executives, and have worked with some for 15-20 years. Tim Bevan and I have worked together for 24 years. We understand how each other works. We tend to work primarily on smaller or mid-budget (films), but maybe one day …

How do you compare L.A. and London?

I never lived in L.A., just fly in five to 10 times a year. I’ve done more miles than most airline pilots. London is a wonderful place to live. It’s a major film center; Hollywood shoots here. I would love to shoot more in L.A. The problem is the financial incentives are better elsewhere. We just shot “Hail Caesar” in Los Angeles, and it was great — so rare that you get the opportunity to do it.

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