Actress Emily Carey, who essays the character of Alicent Hightower in the HBO series House of the Dragon, a prequel to Game of Thrones, recently opened up to a publication about being “scared” of filming sex scenes in the series with a 48-year-old co-star.
In episode 4 of the series, Carey’s character consummates her relationship with her husband King Viserys (Paddy Considine). Carey was 17 when she read the script and 18 at the time of filming; Considine is 48 years old.
Sharing her feelings, Carey admitted, “It scared me because, at that point, I still hadn’t met Paddy, I didn’t know how much of a joy he was and how easy he was going to make (shooting the scene), and all I saw was, you know, a 47-year-old man and me. I was a bit concerned.”
“Again, still being 17, the first scene that I read from the show was my sex scene and my intimacy scenes, that includes the scene where I am bathing the king—anything that felt intimate was considered an intimacy scene, which I thought was great,” she said.
Though she worried about shooting the sex scenes, Emily was comforted by the presence of an intimacy coordinator. “Having that outlet, to be able to talk everything through and not be shunned, or not feel awkward. In the rehearsal room, she was a massive help. And on set, she was a massive help. It was a lot easier than I thought it was going to be,” she added.
“When we got to the rehearsal room, regardless of who was in which scenes, there was an open dialogue about, ‘Look, this is how we’re approaching the show. This is how it’s going to be different from the original. This is what we want to talk about. This is what we want to put out. This is how we want the viewers to view the women in our show,’” the actor further said.
“It was an amazing thing, and it was empowering being on that set as a young girl and being treated the same as all of these very established men. It was great, I think they approached this in the best way they could have done,” she signed off.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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