Bollywood star Akshay Kumar, who is busy promoting his next film Bachchhan Paandey, on Wednesday said he works round-the-clock for his passion for cinema and not money.
The 54-year-old actor said he is surprised when people ask him how he shoots so many films in a year. "I choose to go to work in the morning and take a break on Sundays. If you continue to work every day, then easily you have many films in the pipeline. Everyone was working in the pandemic, including the policemen, media photographers, and others. Everyone has to earn money. Today I have everything in life, I lead a good life. I can easily sit at home and not earn but what about others who want to work (and earn money)? I am working today not because of money but for passion. The day I feel disinterested is when I will stop working," Kumar told reporters at the press conference of Bachchhan Pandey in Mumbai.
Produced by Sajid Nadiadwala, the upcoming action-comedy film is set to hit cinemas on March 18. It is directed by Farhad Samji of Housefull 4 (2019) fame.
Kumar was the first Bollywood star to release his film Sooryavanshi (2021) in theatres after they reopened in Maharashtra and the rest of the country last November. As he gears up for his third release Bachchhan Paandey, amid the pandemic following Bellbottom (2021) and Sooryavanshi, the actor said he hopes all films do well commercially.
"We should pray that everyone's films work and that the auditoriums remain packed, that's the most important thing. The industry has suffered terribly in the last two-and-a-half-years. Films of so many people are stuck and the interest amount is mounting. My own film Sooryavanshi was ready but could release only after one-and-a-half years. I hope that the films run, which is important for us."
In Bachchhan Paandey, Kumar will be seen as a gangster, Kriti Sanon as a documentary filmmaker, and Arshad Warsi as the friend of Sanon's character. The actor, who has previously played negative roles in films like Khiladi 420 (2000) and Ajnabee (2001), said he loved playing the role of a villain.
"I have realised that the villain has a good role and there is a lot of substance to his character as opposed to the hero, who only wins in the last 10 minutes of the film. It was fun to play the role," he added.
Bachchhan Paandey also featuring Pankaj Tripathi, Jacqueline Fernandez, Abhimanyu Singh, Sanjay Mishra, and Prateik Babbar, among others, arrives on March 18, 2021.
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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