Well-known Hollywood filmmaker James Cameron is a fan of Indian films. Talking to an Indian publication, the veteran filmmaker said that he enjoys watching Indian films because they focus on family, friends, and personal duty towards the people around.
When asked about similarities between his films and those made in India, Camron told Bombay Times that the only difference is that his films do not have “a song and dance number at the end”.
He also recalled his conversation with acclaimed Indian filmmaker SS Rajamouli at the Critics’ Choice Awards in Los Angeles and added that watching RRR (2022) made him analyse what he likes about Indian films.
“I was talking to SS Rajamouli about RRR and how much I enjoyed the physical production, the beauty, and spectacle that he had created in his film, but also the tension, the action, and all the things that I like,” he said.
The filmmaker further added, “That film made me think about the Indian film industry at large and how much I enjoy Indian films for those reasons – whether it is the emphasis on family, friendship, personal duty towards the people around you and all those things.”
Cameron also revealed that he had not seen any Indian film when he was making Titanic 25 years ago. “I visited India for the first time in 2010 and made a lot of new friends who are still in touch with me. I have paid a lot more attention to Indian cinema since then. The interesting thing was that we didn’t really have a strong release for Titanic in India when it was first released in 1997, because India was making so many of their own movies that you weren’t that interested in our films. Today, I can’t help but notice that India was one of our strongest territories for the new Avatar film (Avatar: The Way of Water, 2022), so it’s a changing and expanding market,” he said.
His film Titanic has been re-released worldwide including in India to mark the 25th anniversary of the blockbuster film.
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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