Quotes from Eric Fellner

With 'Anna Karenina,' I just think it's a stunning visual tour de force for a director who is at the top of his game.

Apart from 'Stoned,' I can't think of a film that's made me think, 'Blimey, that should have been at Cannes.'

Film is not a national business. It's international. And its centre will always be Hollywood.

Do we have good writers, producers and actors in the U.K.? Yes we do.

You can't develop a great car and sell it as an independent. You can develop a great car and make a deal with Mercedes.

There's so much competition for leisure time, more than ever.

The more you keep costs down, the more freedom you have creatively.

You can get swept away by a musical, but real tears are rare.

Technical problems are like gremlins. They come and go.

It's fantastic to see 'Les Miserables' become the top-grossing film at the U.K. box office.

I think Cannes is usually pretty fair in choosing what will play well to the home festival crowd.

I have always thought we should think less about the British film industry as an entity, and more about getting British talent working.

When you watch a Coen brothers movie, it is always so certain about what it is trying to portray. That is their strength. The minute they write a word, they know how it will look on-screen. They are very purposeful, with no kind of mistakes.

The writer Richard Curtis is a genius.

I think it would be a good thing in the creative community if there was less embarrassment of this word 'commercial' because that's how you make a business.

My theory is, I don't know how long it's going to be, five or ten years, there will be only two ways to see a movie, and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD; that's it - simple.

It is rare that you read scripts that genuinely move you and make you feel that, regardless of the commercial possibilities, you have to make the film.

For us in England, the relative value of the pound against the dollar, that has a huge impact on how easy it is to get our films made in the U.K.

You never get time at Working Title, sadly, to enjoy any film's success, because you're worrying about the next lot.

The idea that the Tony committee and the New York theater community as a whole have embraced 'Billy Elliot' is very, very exciting.

It might sound a small thing, but if you want to get Tom Cruise into your movie, without a track record or without those agents knowing you, it's almost impossible. Now I can get through to pretty much anyone I want. Of course, 90 per cent of the time they still say no.

Somebody has to invest in creating the movies of the future.

I love all my Wrights and it would be impossible to say which one I love more, but if you really pushed me, it would be Joe.

That middle ground of films used to be 70, 80, 90, 100; now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.