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The head of the British film studio has warned that the British government is planning to weaken the copyright laws to appease AI developers, a “existential threat” for the country’s creative industry.
“We have been making films there for 40 years. It has become a very serious contribution to GDP from a house industry,” said Eric Fellner, who has had the group behind Bridget Jones Co-Chairman’s franchise since the early 1990s.
“The creative industry is one of the most important parts of the British economy today,” he told the Financial Times. “If you want to give away the IP to the technology companies, this will be operated on in our future ability and our future ability to achieve income here in Great Britain.”
The ministers advise the plans to oblige artists, authors and companies to “hand over” themselves so that their work on the training of AI programs can be used. The suggestions were criticized by thousands of British musicians and artists, including Kate Bush, Damon Albarn, The Clash and Hans Zimmer.
The filmmaking has become an important source of economic growth in Great Britain. Hollywood studios attract a system of generous tax credits to make their blockbuster films on websites such as Leavels, Pinewood and Shepperton.
According to the BFI, the film and high-end television production expenditure in Great Britain in 2024 in 2024 in the amount of 5.6 billion GBP, which the BFI is almost a third compared to 2023 and before the production expenditure before the Koviden from 2019.
The working title is best known for some of his Romcoms with Richard Curtis Notting HillPresent Four weddings and a funeralAnd Love actuallyBut also has a huge portfolio of more serious dramas like SennaPresent Tinker -schneider -Soldat Spyand finally substance.
The fourth Bridget Jones film, which was opened this month, was to be the largest in the company’s history, said Fellner and predicted that he would surpass the last record for the group of 48 million GBP.
“Every single territory has larger than each of the other three Bridget films,” he added. Bridget Jones: crazy about the boy achieved the highest opening for a romantic comedy in Great Britain and the highest opening for a working title film.
At a time, the fans flocked to its warmth and comfort when the news is often bleak, while critics say that the film has played in a trend towards authenticity that is popular with younger generations. He added: “How does an audience of teenagers enjoy a story about people in the fifties who have to struggle with grief and try to meet?”
In the meantime, older generations remember the first film and the popularity of the original, Tabu-Busting Book-and-a-nostalgic evening with an old friend.
Fellner said that the audience was “pleasantly surprised that the script is really good. . . The story is much more sensible and more emotional than I think everyone expected. ”
The franchise was unusual to see the actress who played the part with the figure in the films, he said.
“Usually people tend to make it new,” he added, but “we love the character and are really proud that it is very rare that a character tells stories for over 20 years and the actress gets older with the character.”
He said too often with sequels “creativity becomes tired. It is very, very difficult to be original in a world in which you have already told three stories. “
