Amit Trivedi holds producers and big music labels responsible for recreating old iconic songs. In an interview with a leading news agency, Amit revealed that singers are pressurized by the producers to recreate old songs.
Amit said, "For creators, especially for me as a composer, I am sure for singers also, it is sad. It is not exciting that we have to create something that someone else has already done before. It is someone else’s baby, which we would not like to touch, because at that time it was that person’s vision. It is difficult to do in a film format."
Adding further, he said, "The pressure is only from the producers and the labels. No composer, no singer would ever want to sing a remix. I don’t know about others, but there are definitely a lot of people, I know, who don’t want to do someone else’s songs in films. It’s the producers and the labels’ pressure that we are catering to. Because we are a part of that (the system), we have to do that job. You should all ask this question to them as to why are they doing it.”
Amit Trivedi has created some modern numbers for the films like Aamir, Wake Up Sid, Aisha, I Am, Kai Po Che, Lootera, Queen, Udta Punjab, Dear Zindagi and Secret Superstar.
Previously, during an interview, he had said, "I have been a huge, huge fan of music ever since I was a kid. Anything to do with music inspires me. I love music, whoever makes it. Whoever makes great music in the entire world I am their fan because I love music so much. I am each and everybody’s fan who is putting their music out there. That really, really inspires me and keeps me going where I breathe, eat, and sleep music! Totally!"
Sharing his thoughts on the current age of music in films, he had said, "Well, the honest answer will put me in trouble, but it is better to be honest. I think we can do much, much better. There is a little dullness and lull in terms of overall music, I personally feel. We are not trying anything new. There isn’t much experimentation happening. Going back to old songs and recreations, the last year was full of that. Taking old songs, recreating them, remixing them that was the only thing that was happening so the original ideas are not taking off in a good way. It is a little dull time. It will slowly gradually come up. Inshallah one day! I am not happy in totality in the ways that things are going."
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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