Lyricist-writer Javed Akhtar on Friday said his comments on the 26/11 Mumbai terror attacks during his recent visit to Pakistan have become "too big" but he had to set the record straight on certain things while he was there.
Calling himself as someone who has made remarks that were "slightly controversial and sensitive in nature" in India, Akhtar said he was not scared to speak his mind while in Pakistan.
Akhtar, who was in Pakistan for a festival in memory of celebrated Urdu poet Faiz Ahmed Faiz last week, said Pakistanis should not feel offended when India talks about the 2008 terror attack.
"It became too big. It's embarrassing for me. Now I think I should not gloat over it. When I came here, I felt like I won World War III. There were so many reactions from people as well as the media that I just stopped taking calls. I was embarrassed that 'aisa maine kya teer maar diya'. I had to say these things. Should we keep quiet?" the lyricist said during a session at the ABP Ideas of India 2023 Summit.
The writer-poet said he has now got to know that his comments have caused a stir in Pakistan.
"I got to know that people are abusing me there. They are asking, 'why was he given a visa?' Now I will only remember what kind of place it was. I have been saying things that are slightly controversial and sensitive in nature in the country where I was born, I live and where I will die, then what was to fear there? When I don't feel scared here, then why would I fear anything there?" The lyricist-poet had also spoken about Pakistan not welcoming Indian artistes, the way India welcomed talent from across the border.
At the summit, Akhtar said he had to answer that question as it came from the audience.
"During a Q&A session in a huge hall... They were asking very friendly and warm questions. It was going on nicely but someone asked me that they meet us very nicely but they don't get that warmth from us. There was little room for me to move away without answering, so I did. And in the most polite manner possible. I told them to set their record right," he said.
Akhtar said India had hosted ghazal great Mehdi Hasan and even Faiz Ahmed Faiz visited the country during Atal Bihari Vajpayee's time.
"We don't have anything against them but they never hosted Lata Mangeshkar." The writer, however, said "no country is a monolith" and should not be defined by the policies of the government and establishments. "The fact is that it is very unfortunate that we're unaware that it is a huge segment of Pakistan that wants to have good relations with India and it is totally understandable. They are seeing a country next door that witnessed so much development, industries, corporates, culture, films, and music. So naturally, an average citizen would be curious and would like to come and witness this himself," he said.
He also said that it is not wise to club "every Pakistani with the Pakistani army, bigots, and its establishments".
"That's not a wise thing to do. We should see to it they get more credibility. When I went, the kind of reception I got from young people, and students was unbelievable. If I say all Pakistanis are the same, then it wouldn't be correct," he added.
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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