The Telugu film, set in pre-independent India, fictionalises the lives of two freedom fighters –Alluri Sitarama Raju, played by Ram Charan and Komaram Bheem, essayed by Jr NTR.
Throughout the 200-plus day shooting schedule of RRR, Jr NTR felt the weight of filmmaker SS Rajamouli's ambition, which the actor says inspired him to give his best for the much-awaited action drama.
RRR, being Rajamouli's follow-up to the game-changing blockbuster Baahubali, sparked fan interest since its announcement in 2018.
In an interview with PTI, NT Rama Rao Jr, known among fans as Jr NTR, said he shot the film with the awareness that it was a "responsibility" to give his all.
"I felt the burden, constantly, every day. How can you survive if you don't have that pressure on you? You need to be reminded that you are part of someone's vision, who has believed and invested in you. Forget about the money, that is a different thing, but he has trusted you with his material so you have to do justice to that, there was responsibility," Jr NTR said.
The 38-year-old actor credited Rajamouli for his unwavering belief, which helped the teamwork towards the film the director had envisioned.
For instance, even if the crew was on a break, Rajamouli would constantly work to improve the project. The filmmaker would call up Jr NTR and discuss the nuances of a scene with him so that the actor never felt out of touch with his character.
"You need to have the right people around you and a fantastic director like Rajamouli to remind you what you are here for. The journey for 'RRR' demanded that kind of emotional and physical investment. When we were home and not shooting, we were given exercises so that we don't get away from the film. He would call me and discuss scenes, say that my character's expressions should have been exploited more in some places. So, I had to gather all the thoughts, recollect the moment and be back to the scene. I had to be completely involved, immersed in the film," he added.
The scale of RRR is bigger than that of the actor's previous three collaborations with the 48-year-old director. The duo first worked together in the 2001 action film Student No 1, followed by Simhadri in 2003, and the 2007 fantasy action-comedy Yamadonga.
Jr NTR said Rajamouli is perhaps one of the few directors in the country, who can truly challenge an actor. With Komaram Bheem, a revolutionary who the actor was well versed with, Rajamouli added more layers and presented a novel character.
RRR attempts to fill the historical gap where the two freedom fighters, who belonged to the same era, left home with no record of what they did for four years before they came back and started to fight for the people. Once you become a Rajamouli character, you want to give your 100 per cent. You just don't want to settle at 50 percent or 80. You want him to get him from his seat, when he is watching you on the monitor, and tell you an excited 'Okay!'
"You want to hear that. Working with him is a challenge but I have always loved that. The beauty is that he has also constantly challenged himself as a filmmaker. He has earned that respect. As an actor that's what you want, to get a director who can push you, make you feel vulnerable at times," he added.
The film is also being hailed for pulling a casting coup with Jr NTR and Charan together in a project. The actor said he is aware that the genre of multi-starrer films has virtually faded, but hoped RRR will ignite the trend considering how more pan India films are being made today. RRR also stars Alia Bhatt and Ajay Devgn.
"Somewhere, our industries have stopped making multi starrers films. With RRR, a multi-starrer film in Telugu is coming after, probably, 30 years. I think Karan Arjun was the last Hindi film where two massive stars, equal in stature, came together for a film. Stars having equal persona, talent, and following. Why did it stop, I don't have an answer. But maybe it will start again. There is now going to be a lot of cultural exchange, with crossover, multi-starrer films. It is good to call ourselves one big Indian film industry. I feel so proud that I, as an actor, am a part of this era. An era which was earlier closed, now it is opening and combining all of us together. I truly feel blessed," he added.
RRR is set to arrive in cinema halls on January 7. The film will be released in Hindi, Tamil, Malayalam, and Kannada as well.
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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