Tim Bevan Poster


Jump to: Overview (2)  | Mini Bio (1)  | Spouse (2)  | Trivia (10)  | Personal Quotes (4)

Overview (2)

Born in Queenstown, New Zealand
Birth NameTimothy John Bevan

Mini Bio (1)

Tim Bevan was born on December 20, 1957 in Queenstown, New Zealand as Timothy John Bevan. He is a producer, known for Les Misérables (2012), Atonement (2007) and The Theory of Everything (2014). He has been married to Amy Gadney since 2001. They have two children. He was previously married to Joely Richardson.

Spouse (2)

Amy Gadney (2001 - present) ( 2 children)
Joely Richardson (10 January 1992 - 12 July 2001) ( divorced) ( 1 child)

Trivia (10)

Father of Daisy Bevan (b. 1992) with Joely Richardson.
Co-founded Working Title Productions with Sarah Radclyffe [1984]
Went to Sidcot School.
Co-chairman of "Working Title Films" with his friend Eric Fellner.
Has two children with partner Amy Gadney and one child with ex-wife Joely Richardson.
He was awarded the C.B.E. (Commander of the Order of the British Empire) in the 2005 Queen's Birthday Honours List for services to the film industry.
Daughter Nell Bevan (born 2001) and Son Jago Bevan (born 2003) with Amy Gadney.
With Eric Fellner, ranked #9 in the 2008 Telegraph's list "the 100 most powerful people in British culture".
Former son-in-law of director Tony Richardson and actress Vanessa Redgrave. Former brother-in-law of Carlo Gabriel Nero, Katherine Grimond and Natasha Richardson.
Producer or executive producer for nine Best Picture Oscar nominees: Four Weddings and a Funeral (1994), Fargo (1996), Elizabeth (1998), Atonement (2007), Frost/Nixon (2008), A Serious Man (2009), Les Misérables (2012), The Theory of Everything (2014) and Darkest Hour (2017).

Personal Quotes (4)

Quality is everything. The day we green-light a movie, that's the day the development process starts for us. Every word of that script's got to be checked ... too often I think what happens in Britain is the day they green-light a script is the day they say, that's finished.
"If you make one movie at a time the problem is it's boom-bust, stop-go. In the year [2004], you do Bridget Jones: The Edge of Reason (2004) you kind of know that film is going to do all right, so you can take a bigger risk at the other end, which was Shaun of the Dead (2004). Which turned out all right, thank God, because we also did Thunderbirds (2004) which we thought was going to do all right, but didn't work out, and the other two supported it".
When we were independents we were very wary about the studios. But what we realized through our experience with Polygram is that being part of a US studio structure is essential if you want to play the long game in the movie business. Six studios control movie distribution worldwide. The various supply engines, like talent agencies and marketing people, understand the studios and everyone who is playing seriously in the film business will be part of a studio structure.
When you're doing a big movie that's studio based, spending a lot of money on building sets, the first thing you do is a budget for shooting here, as tight as possible. Then you have to do an exercise in your head about taking it to Prague or somewhere in eastern Europe, or Canada, or America. On a $50m movie the difference can be as much as $6m-$9m.

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