He may be called the ‘King of Romance’ but superstar Shah Rukh Khan says he is now too old to do larger than life love stories.
The 51-year-old actor has often been hailed for ushering in modern day romance with films like Dilwale Dulhaniya Le Jayege, Kuch Kuch Hota Hai among others and when asked if romantic films do not interest the audience anymore, Shah Rukh said the language of romance is different now.
“I think the times have changed a lot in terms of the language. Romance hasn’t changed. I think people have less time. I also find this whole rightly-so pushed for equality I think creates more buddy-feel between men and women,” Shah Rukh said
“When you are buddies, you can’t romance. There is a whole wave which I notice with youngsters, because I have kids and some young actors and actresses talk to each other very differently,” he added.
The actor was speaking en route Delhi in August Kranti Rajdhani train, last night. He is visiting the capital to promote his latest crime-thriller Raees.
Shah Rukh feels there has to be some tenderness and chivalry in romance which is classic old school.
“Romance has to have a little formality. Whether it’s ‘tehzeeb,’ going down on your knees, whether it is saying couplets in praise of a girl. I am from that school, I still believe in it.
“I think romance has to be formal. ‘Aur phir kya kar rahi hai?’ It can’t work like that, even if there is equality.”
The Fan actor says his forthcoming film with Imtiaz Ali will have a mix of both the world- the old world romance and the new language.
“I think I am too old for a romantic film now, of that genre. May be the youngsters will have to find language which has formality but still of today
“Maybe in Imtiaz’s film it might be there because I am playing kind of my age, 40s, the lady of course Anushka is younger than me. There is this formality because he (Ali) belongs to that world, but the language is very Imtiaz. He is very modern thinking, has a different take on romance.”
While the actor may say it is the buddy-feeling between youngsters today which is opposite to the old world romance, his film Kuch Kuch Hota Hai popularised “pyaar dosti hai” to the generation of 90s.
When asked about the same, he said: “It must be, I am sure, for some it works. I don’t believe in everything that I do. My daughter calls me bro. I want to ask her, and everyone, do they say it to other boys also? I am not saying it’s wrong, it’s really cool.
“But romance requires a little bit of formality, space, enjoyment. From the days of walking on the beach holding hands, to under starlit night to full moon night. All the connotation of romance need time and formality.”
Directed by Rahul Dholakia, Raees is set to release on January 25.
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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