VERSATILE actor Ashish Sharma has shown off his remarkable range in a wide array of projects and won fans around the world. These include a group of friends in South India
who started a fan club dedicated to him. Eastern Eye caught up with them to find out more...
What made you set up the fan club?
We realised Ashish has many South Indian admirers, especially Tamil fans like us. So we thought, why not have a platform to connect with all those fans and then we expanded
further. So today it is not just restricted to Tamil fans. So we interact in Tamil with Tamil fans and in English with other Ashishians.
Tell us more about your fan club?
Our fan club is basically a means to connect and interact with Ashishians using information, edits and chats along with spreading our appreciation of Ashish. Sometimes we translate his tweets (he posts Hindi poems and tweets often). We support Ashish and his projects. When he is not onscreen, we discuss his previous work and future possibilities.
What has been your best moment?
Post Siya Ke Ram we had to wait for six long months before getting news about Prithvi Vallabh. We managed to get a peek of his new look for it and were so overjoyed to share it on our fan club. Also we got our first reply from Ashish recently as we dug out one of his old videos and he was happy watching it.
What is the best thing you like about Ashish Sharma?
We like Ashish both as an actor and a human being. We trust his choices and he never disappoints us. Offscreen he is just like any of us. His social media accounts don’t look
like that of a celebrity. He is a complete family man!
What is your favourite work Ashish has done?
It’s difficult to choose one. Be it Avdhesh, Chandragupta Maurya, Ranveer, Rudra, Ram or Prithvi Vallabh, he breathed life into all these roles. He won Jhalak Dikhhla Jaa and that
gave us immense happiness. Now we are excited to watch his movie Khejdi.
What is your definition of a true fan?
A true fan supports and trusts their favourite unconditionally.
Visit Twitter: @AshishTamilFC for more information.
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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