Jump to: Overview (1)  | Mini Bio (1)  | Spouse (1)  | Trivia (11)  | Personal Quotes (2)

Overview (1)

Born in England, UK

Mini Bio (1)

Eric Fellner was born on October 10, 1959 in England. He is a producer, known for Les Misérables (2012), Atonement (2007) and The Theory of Everything (2014).

Spouse (1)

Gaby Dellal (? - ?) ( divorced) ( 3 children)

Trivia (11)

Went to Cranleigh School in Surrey, UK from 1972-77
Uncle of actress Rosie Fellner
Has a son, Luc (b. 15 Jan 2005), with girlfriend Laura Bailey and three children with ex-wife Gaby Dellal.
Attended Guildhall School of Music and Drama.
Co-chairman of "Working Title Films" with friend Tim Bevan.
Launched "Working Title 2" with Tim Bevan in 2000.
He was awarded the C.B.E. (Commander of the Order of the British Empire) in the 2005 Queen's Birthday Honours List for his services to the film industry.
Ex-brother-in-law of Jasmine Dellal.
With Tim Bevan, ranked #9 in the 2008 Telegraph's list "the 100 most powerful people in British culture".
Father, with Laura Bailey, of a daughter, Lola Fellner', born in May, 2008.
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 (2)

We are trying to up the ante a little bit in terms of the scale and diversity of films we make ... You have to have films that are going to do $200-$400m in box office revenue, and finding them from here [Britain] is difficult.
I guess technically not owning the company means we lost control, but the way the film business works is that it's people-driven rather than structure-driven. Tim and I are by profession film producers, and the business of Working Title is producing films. By dint of that we get to run it how we want. The production company itself will never be a profitable company. The value is not in ownership of the company but in part ownership, as we ultimately have, of the rights of any film made.

See also

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