Actor Fabien Frankel, who plays Rhaenyra’s knight in once-shining armour in House of the Dragon, has revealed that he spent seven months preparing for a big sex scene with co-star Ser Criston Cole that featured in the fourth episode of the show.
“It was something we talked about over seven months. It was one of the first things I was very keen to talk about,” Frankel tells a publication. “We were incredibly fortunate that episode 4 was directed by Clare Kilner, who, I think is one of the great TV directors working today.”
He continued, “The big thing for me was about it not feeling like another gratuitous, sweat-glistening-off-their-back sex scene, 'cause it's just not like that. Anyone who's ever had sex will tell you sex ain't that beautiful. It isn't some picturesque, amazing thing. It's awkward, especially when you are young. There's an uncomfortability that one has to sit in, and there's a discovery and understanding of each other's bodies — not to mention the practical side of the whole thing.”
Frankel said he spent months texting Alcock and the episode director about the scene and asking them, “How do we make this human?”
“I just remember back and forth texts, back and forth phone calls, back and forth meetings between Clare, myself, Milly, and our intimacy coordinator. But particularly me, Clare, and Milly going, ‘How do we make this human?’ Frankel recalled.
“I remember just saying to them, ‘There’s no way this armor comes off without the help,’” he said, explaining that he fought to have the scene’s runtime dragged out with the long process depicting his character, Ser Criston Cole, taking off his armor.
“Knights would have squires, and squires would take off their armor. For even a world-quality squire, you’ve got 10 minutes to get the armor off. Let’s say five, maybe at best. There’s no way Rhaenyra and Cole are gonna take that armor off in 10 seconds,” Frankel said. “So, I was like, ‘Well, you have to have that in. It’s important that that’s what it is. It’s important that it’s a struggle to get the armor off.’ It’s heavy. How do we get the buckle off? How do we get the boots off? These are all the things I really cared about, ’cause they take away this sort of, to my mind, archaic sexual sex scenes that have existed for so long in television and film, and make it feel real and how it would be.”
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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