Pooja Jhaveri originally hails from Gujarat, but she has built a strong acting portfolio in the South Indian film industry. Her resume boasts of several successful Tamil, Telugu, and Kannada movies which she has starred in ever since making her silver screen debut in the year 2015.
“Learning a new language was never a problem. I am glad I can fluently talk in Telugu now,” she told Eastern Eye.
In a freewheeling conversation with us, Pooja Jhaveri opened up about a whole lot of things, including the new things she has learned during the Coronavirus-induced lockdown, how she ended up bagging her first role in movies, her acting icons, and, of course, her forthcoming projects.
What have you been doing to keep yourself busy amid the lockdown?
I think this was a long-time due break and if not for lockdown one would never opt to take such kind of break. I have made lifetime memories with my family during this period. I have done everything that I always aspired to do but never got a chance because of my busy schedule. My love for cooking, painting pieces of art, and learning new techniques of meditation has occupied my lockdown. I have enjoyed retrospection through it.
You belong to a Gujarati family, right? How did you end up starring in Tamil and Telugu language films?
Yes, I am a Gujarati, from a small town in Gujarat called Valsad. Ever since I passed my 10th I have been in Mumbai for my studies. I started off as an assistant choreographer in Bollywood. Gradually, the connections got me into films and I was offered my first Telugu film and the rest became history.
Was it difficult to learn new languages to fit in your parts?
I have always been of the opinion that nothing is difficult if you really work towards it and put in the effort. Hence, learning a new language was never a problem. I am glad I can fluently talk in Telugu now.
Did you ever lose on a South Indian project just because you were not proficient in the language?
I have seldom lost any project due to linguistic unproficiency. Yes, I have lost on the opportunity to dub for myself because of the accent but never for not knowing the language.
Have you ever been replaced after signing a project?
Yes, I have been replaced after signing for projects due to a clash of shoot dates. I remember backing off from a project when my father was not keeping well and I was nursing him through his final days. Not otherwise.
When did you know that you wanted to be an actress? How did your family react?
I always wanted to be one. I never thought or put my efforts towards getting it, but I feel if you manifest the right approach, good things end up reaching you. To be frank, my father was not happy initially. My mother and sisters were more than happy and supported my passion. Eventually, my father was proud to see me on the big screen.
Looking back at your career, what are the moments you are most proud of?
Achieving the milestones I had set for myself and surpassing each of them is something I am proud of. I feel elated to make my family proud and hope to embark on this journey with the same grit always.
When are we going to see you in Hindi movies?
I believe that if Bollywood is meant to happen it will happen one day and I hope to enjoy that experience. Honestly, I have not set boundaries or levels to reach in terms of work. For me, the journey is more important than the destination and I have been loving the journey throughout.
Who are your acting icons?
Madhuri Dixit, Madhubala, Kajol, and Kareena Kapoor Khan primarily. The list is super long. I think every artist has their unique trait and that makes them wonderful in their own way. I hope to incorporate certain things from every actor and create a particular style of my own.
What are your upcoming projects?
I have 3 films ready to release. Two in south and one in the Gujarati industry. I also have an upcoming web series. Apart from this, I have scripts I am reading, which might go on floors only after the condition is safe to shoot.
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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