You should familiarise yourself with the Working Title Films site. This has plenty of good things about the company and its films. It might be interesting, for example, to use the poster gallery and trailers to see how the films have been promoted and the target audience that they have in mind.

It might be useful to focus on a couple of films that you know/like to see if you can get a more complete picture of their production history. If you go to imdb you can look up individual films etc and then down the left hand side are links to all sorts of things. If you click on ‘company details’ it will indicate whether Working Title produced the film on its own or as a co-production with other company/companies

http://news.bbc.co.uk/1/hi/entertainment/film/2821801.stmTim Bevan and Eric Fellner have been described as the "Brit flick's twin towers of power", Britain's "movie moguls" and "gamblers with excellent taste and instincts".

The early films were a mixture of left-of-centre independent films, such as Sammy and Rosie Get Laid, and support for American indie productions, such as Tim Robbins' Bob Roberts.

In 1999 Working Title signed a reported $600m deal with film giant Universal. While the overall deal is probably exaggerated, it gave the pair the power to commission films with a budget up to $35m without even consulting their pay masters.

Their most recent success is the launch of WT2, an offshoot designed to produce smaller budget films.

This document summarises some of the material from the various articles:

http://www.channel4.com/film/reviews/feature.jsp?id=113008Read all of this document. On page 3, whathttp://www.variety.com/article/VR1117952379.html?categoryid=2299&cs=1

http://www.variety.com/article/VR1117952377.html?categoryid=2299&cs=1

Though best known for the blockbuster comedies of Richard Curtis and Rowan Atkinson, they also deliver punchy period pics, urgent political dramas, highbrow literary adaptations, quirky family fare, cultish low-budgeters and the somewhat uncategorizable output of the Coen brothers.

And they have a formidable record of launching fresh talent -- from directors Joe Wright ("Pride & Prejudice"), Stephen Daldry ("Billy Elliot"), Shekhar Kapur ("Elizabeth") and Stephen Frears ("My Beautiful Laundrette") to actors Cate Blanchett and veritable house leading man Hugh Grant.

Director Paul Greengrass was given the greenlight to use a no-name cast, many of them non-actors, and a docudrama approach for "United 93," and the risk paid off in uniformly strong reviews for a 9/11-themed movie that was wide open to potential charges of exploitation and the Hollywoodization of a sensitive subject.

For the upcoming "Catch a Fire," helmer Phillip Noyce cited the duo's commitment and hand-off approach to the apartheid-era drama, which was shot in South Africa and Swaziland. "This was a project that Tim Bevan and Eric Fellner were determined to make," Noyce says. "They have a deal with StudioCanal and Universal that allows them to put certain pictures into production below a certain budget; presumably our $15 million budget qualified. If Focus and Universal hadn't agreed, they were that determined to have it made anyway.

"It really was a case of: 'You have $15 million, do what you like, then bring it back. Call us when you need us.' They were very supportive."

But the true measure of Working Title is its bottom line. Because of its tight budgets, even modest theatrical results can be highly profitable. "United 93" was clearly an artistic triumph, but with a budget of $15 million and worldwide box office of $75 million, it's also a commercial one.

http://www.guardian.co.uk/film/2005/apr/16/business.hayfilmfestival2005Their offices are in Oxford Street, London, with about 40 staff (the same number as in 1992) working on the development, marketing and legal sides - though when separate companies are formed for individual projects, they could have hundreds, even thousands of people on the books. They have offices in Australia and Los Angeles, plus a low-budget offshoot, Working Title 2, responsible for films such as Billy Elliot and Shaun of the Dead.

http://www.skillset.org/film/stories/production/article_3457_1.asp

In terms of production, a strong emphasis is placed on development. Six people work sourcing, developing and honing projects in the UK, with another three in the US and one person in Australia.

The production department itself is six strong, and comprises two senior production executives, backed up by four staff, and is responsible for overseeing Working Title's films. This involves managing a film's budget and keeping the shoots on schedule.

Other key departments include a legal and business affairs team, headed by company chief operating officer Angela Morrison who is responsible for financing Working Title films and sorting out legal issues. She works with three full time lawyers on her team.

How does 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. Bevan and Fellner then both take the decision on what to greenlight.

http://www.telegraph.co.uk/finance/newsbysector/mediatechnologyandtelecoms/2783016/Working-Title-plans-TV-shows.html

Working Title, the British-based film production company, is understood to be in discussions with NBC Universal to launch an international television business.

NBC Universal already holds a majority stake in Working Title Films, and has been looking to create a European TV studio in London.

The intention is to create big-budget British productions on a par with such US hit series as Heroes or 24.

The company will seek commissions from broadcasters, with NBC putting up a significant part of the financing.

In return, the US group would carry Working Title shows on its collection of international pay-TV channels or sell them on to other networks, and take a cut from DVD sales.