Indian-American filmmaker M. Night Shyamalan started his journey with the movie Wide Awake (1998) and got success with the movies like The Sixth Sense (1999), Unbreakable (2000), Signs (2002), and The Village (2004).
However, his career saw a dip with critically panned films like Lady in the Water (2006), The Last Airbender (2010) and After Earth (2013). But, with the 2015 release The Visit, Shyamalan got success once again, and his next two releases Split (2017) and Glass (2019) also did very well at the box office.
Now, the filmmaker is gearing up for his movie titled Old which is slated to release on 23rd July 2021.
While talking to PTI about the years he faced failure, the filmmaker said, "I think for a time a period of about six years, I wanted to be accepted. And the moment that you're willing... whether it's in high school, on the job, or in a relationship, if one is willing to let go of who they are, to be accepted, they're on the wrong path and are going to be unhappy."
"The irony is, you won't get what you think you're going to get – 'acceptance'. And then you realise that ‘Wow, I was really powerful when I thought I wasn't powerful'. One should be able to use their success to take more risks, not less. What we often do is the exact opposite. We use our success to trap us. And now you can't do what you did when you first started,” he added.
Giving an example of his upcoming movie Old, Shyamalan says that he believes in art and even if it doesn’t get the box office success. He said, "If Old, goes out and doesn't do well at the box office, it's still a giant win. For me, it really is, because it's so specific, only I could have made it, and the audience will be more interested to come for the next movie because it's so specific."
When Shyamalan started his journey in Hollywood diversity and inclusivity were not the hot topics like they are today in the American culture and cinema. He reveals, "In my career, I have been an immigrant mainstream filmmaker in Hollywood for all this time, way before the world knew how to deal with it."
"‘It was a fascinating example of almost the kind of ‘hey, I'm going to change what it needs to be you. So you're going to have to include me there'," he added.
The filmmaker recollects that when he started mainstream Indian actors were not a part of big-budget Hollywood movies, but now they are a perfect fit to play people of different ethnicities.
He said, "I joke about it a bit here because our profile is ambiguous. Let's say they want to have someone of diversity in films or on TV, Indian actors cover a huge space on this spectrum."
Many Indian actors have worked in Hollywood films, but Shyamalan is yet to work with someone from India. However, he says that he is keen to work with Indian actors and keeps inquiring about them from his wife who is an avid Indian cinema and television viewer.
The filmmaker said, "My mind has gone there a few times. My wife loves watching TV. So when I sit on the couch with her and I see what she's watching, I'm like, 'that actor would be interesting'. So it's an eye-opener. I think it's coming soon, hopefully."
"There are a few actors I like, but I don't want to say so that others don't feel bad. I try to be careful about that. But there are a few who have been on my mind," he added.
Talking about Old, the movie is inspired by the graphic novel Sandcastle, written by Pierre Oscar Levy and illustrated by artist Frederik Peeter. Shyamalan has written the movie adaptation and it stars Mexican superstar Gael Garcia Bernal, Thomasin McKenzie, Vicky Krieps, Rufus Sewell, and Ken Leung.
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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