Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
Hayley Atwell has opened up about the helpful advice Tom Cruise gave her on how to cope with social anxiety, a topic that resonates with many, including those working in the intense world of Hollywood. Atwell, known for her role as Peggy Carter in Marvel films and for starring alongside Cruise in Mission: Impossible – Dead Reckoning (2023), revealed how Cruise's wisdom has helped her deal with nervousness in large social gatherings, something she’s not immune to despite her prominent career.
As Atwell prepares to reprise her role in what is expected to be the last chapter of the Mission: Impossible series, The Final Reckoning, due for release in May, her reflections on social anxiety offer an insightful perspective on how even the most successful stars experience self-doubt. She recently discussed this on the Reign with Josh Smith podcast, explaining how she often battles the feelings that come with being in a room full of people.
Atwell acknowledged that social anxiety is common, especially in the present day, when personal insecurities can often be exacerbated by the pressures of social media and public perception. She candidly shared how, in such situations, she tends to overthink and withdraw, constantly questioning whether she seems awkward or out of place.
This is where Tom Cruise’s advice came into play, something that has stuck with Atwell since their time working together on Mission: Impossible – Dead Reckoning. According to Atwell, Cruise gave her a pep talk about reframing her experience. Rather than retreating inward and allowing the anxiety to take over, Cruise encouraged her to focus on the external. “Try doing the opposite. Try to look out, look around the room, and go, ‘Where is it? Where is the thing that I have attached to my insecurity?’”
Atwell explained that Cruise’s advice helped her focus on identifying the source of her insecurity, whether it’s a particular person or an uncomfortable memory. Instead of retreating into herself, Cruise suggested confronting the anxiety head-on by acknowledging it and giving it a name. “Where does it live outside of me and, if I look at it for long enough, the anxiety then can have a name,” Atwell recalled. This method, according to Atwell, helps in transforming the overwhelming feeling of anxiety into something more manageable and actionable.
She revealed that once she could name the anxiety, whether it was jealousy, loneliness, or insecurity, the feeling would dissipate, allowing her to address it. This shift in perspective has proven to be an invaluable tool in her personal and professional life, especially in the high-pressure world of Hollywood.
In addition to this profound advice, Atwell shared that working with Cruise on set has been an enriching experience. She described him as “very kind, very professional,” and admitted to being in awe of his presence when she first started working alongside him. “When I started, I was very aware of the rarefied air around him and how there is no one like him,” Atwell said. “He is a one-man studio.” She went on to praise how Cruise fosters an environment where others can thrive. “Tom really likes people to thrive on set,” she added, emphasizing the positive atmosphere that encourages creativity without fear of failure.
As the release of Mission: Impossible – The Final Reckoning draws near, Atwell discussed the prospect of the franchise coming to an end. Despite the film’s title, Atwell mused, “I mean, look, they called it The Final Reckoning,” but was quick to acknowledge the possibility that the Mission: Impossible saga could continue. “On the other hand, ‘Tom Cruise’ and ‘final’ are oxymorons, so I wouldn’t be surprised if he goes, ‘Wait, maybe…’” With Cruise’s relentless drive and love for action-packed filmmaking, it’s hard to believe Mission: Impossible could ever fully come to a close.
Whether or not The Final Reckoning is indeed the end of the Mission: Impossible saga, Atwell’s reflections on working with Tom Cruise offer a glimpse into what makes him not only an exceptional actor but also a mentor to those around him. His influence extends beyond the big screen, with his thoughtful advice about confronting personal insecurities resonating with Atwell and many others in the industry.
- YouTubeYoutube/ Paramount Pictures
As Mission: Impossible – The Final Reckoning gears up for its release on 21 May, fans are eagerly awaiting the conclusion of the action-packed franchise, one that has captured audiences for over two decades. Whether this is truly the final mission or not, there’s no doubt that Cruise’s legacy in the world of action films, and his impact on his colleagues, will endure.
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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