Dev Patel, who began his acting career with teen drama Skins (2007–2008) before bursting onto the scene with Danny Boyle’s Oscar-winning film Slumdog Millionaire (2008), has come a long way. From working with Nicole Kidman to winning a BAFTA Award to receiving nominations for an Academy Award, the actor has achieved many milestones in his professional journey and continues to grow as an actor.
Patel, who has rightfully earned his place in Hollywood, can be currently seen in David Lowery’s medieval fantasy film The Green Knight (2021), an adaptation of the Middle English romance Sir Gawain and the Green Knight.
The actor has been winning raves for his powerful performance ever since the film’s release. Since it is a fantasy film, he had to work even harder to get everything right. Talking to a leading publication, he acknowledges that it was a complete departure from what he had been doing since Slumdog Millionaire.
“For this film, I got stripped of all that wide-eyed and open vulnerability stuff that I normally lean into. I got to play someone who becomes cold and callous and broken and jaded along the way,” he tells the publication.
Talking about how he landed the part after reading the screenplay, he says, “David was talking to a whole load of hot young actors at the time, but I knew that if I could just get on the phone with him there would be a synergy there between us. And luckily there was.”
Patel adds that though The Green Knight is a medieval film, there are a lot of parallels for him with a young actor’s journey through their career. “Even though it’s a medieval film, there are a lot of parallels for me with a young actor’s journey through their career. The idea of being known and having ambition, but at what cost? And the idea that Gawain is surrounded at the round table by all these legends and not feeling worthy himself. I very often found myself in that situation where I have this impostor syndrome, just like him.”
Patel is now looking forward to his next film Monkey Man. What makes the project even more special for him is the fact that it will also mark his directorial debut. He shot the film just before the coronavirus pandemic brought the entire world to a standstill. It is currently at the editing stage.
Monkey Man is co-produced by the makers of Keanu Reeves’ action-franchise John Wick. The film requires him to brush up on his martial arts skills. “Honestly, I had not practised in a long time. But these were the producers who did John Wick, so I had to turn up and try my best to kick some arse as well as I could.”
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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