Warp's '71 v Working Title's World End

(tbc) Peggy + Wright will combine again, B Driver sequel: https://www.slashfilm.com/edgar-wright-and-simon-pegg/

This post will compare 2 movies to get a better insight into the different approaches taken and challenges facing a notable UK Indie producer and a prestigious UK big six studio-backed subsidiary. The film's are selected to be a mixture of typical for the companies but also contrasting in some key ways. Neither can be judged as a great commercial success - typical for one company, fairly unusual for the other...

The contenders:





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Warp v wt 71 v worlds end from DB3igs

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WORKING TITLE v WARP Getting started

Underpinning this blog is a comparison between two companies that, to some extent, exemplify different positions within and approaches to the film industry: the 'powerhouse' WT, a subsidiary of NBC-U with one eye always on the international market, and Indie Warp, with a clearer focus on domestic (UK) box office. WT is seen as compromising the Britishness and artistic quality of its output in order to maximise box office potential, though its recent slate may challenge that perception. Multiple award-winning Warp is seen as producing auteur films with a strong British identity (very widely defined: She, A Chinese...) generally with limited mainstream appeal - or, at least, opportunity to win major distribution and marketing backing/spending.

In time you might well view, or critically re-watch, several of their films, but we can make a start without that...

Investigate each of the following to gain an initial insight into the two companies. Sum up your findings for each:

1. The history of Working Title (put very briefly; the Wiki is ok in this case): its first movie, new offices, ownership changes, major breakthrough films, its subsidiaries, major talent relationships (directors, actors)