Karan Tacker was one of the highest-paid actors on TV when he decided to stay away from television to break into movies. Ever since his successful show Ek Hazaaron Mein Meri Behna Hai came to an end in 2013, the actor did not sign up for any fiction show on television. He limited his presence on television to guest appearances and reality shows.
After a long wait of many years, his patience paid off when he bagged National Film Award-winning filmmaker Neeraj Pandey’s web show Special OPS. The show premiered on Hotstar in 2019 and the actor garnered positive response for his portrayal of secret agent Farooq Ali.
Talking about the same, Karan Tacker says, “The idea was not to take a break from acting, but concentrate on working with better makers and stories. When I stopped taking acting projects on TV, there was no digital platform. And coming from TV, it was hard to break into films. Getting the opportunity to work with a National Award-winning director like Neeraj Pandey therefore took time.”
His stint as a host on various television shows helped Tacker establish a friendship with noted Bollywood filmmaker Karan Johar and renowned fashion designer Manish Malhotra. When asked if knowing them helped him in any way to get work in Bollywood, the actor responds, “Our friendship is a good bond that I enjoy more than looking at them to get work. It is nice to know people like them in the film fraternity, people who are always there to guide you. Filmmaking is also a business. When that part and even role wise things click, we would definitely collaborate.”
Commenting on the widespread criticism that Karan Johar is currently facing for nepotism, Tacker says, “I don’t know why is anyone answerable to anyone else for professional decisions they are making in their own sphere. They are smart people and know what is better for their business. I don’t have any personal grudge against anyone.”
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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