Actor-director Lake Bell says she felt “protective” of Pamela Anderson and her story during the making of Pam & Tommy and insists that the series hasn't exploited the former Baywatch star's infamous 1990s sex-tape scandal.
Set in the early days of the internet, the show depicts the true story of Anderson (Lily James) and musician Tommy Lee (Sebastian Stan) and how their sex tape was stolen from the couple's home by a disgruntled contractor (Seth Rogen).
The duo got married in 1994 and parted ways in 1998. The video went from underground bootleg-VHS curiosity to full-blown global sensation when it hit the web in 1997.
The 42-year-old actor-filmmaker said after hearing the story of Pam & Tommy, her intention was to humanise the real-life traumatic incident as she has been through a similar experience. "I have been a wife, I have my mother, I'm a daughter, a sister and I am a victim of the property being stolen from my computer in the form of an image. So, coming at it from that perspective, I had a much bigger bone to pick as it were. I was more invested in the humanisation of these people, particularly Pam. I felt quite protective over the Pam story,” Bell told PTI in a Zoom interview.
Bell, known for featuring in films such as What Happens in Vegas (2008), It's Complicated (2009), No Strings Attached (2011) and Million Dollar Arm (2014), has directed two episodes of the limited series, which has been created by Robert Siegel.
The filmmaker, whose private pictures were leaked online in 2014, said she dealt with the subject with utmost sensitivity.
"I felt sensitivity and responsibilities in my chapters of this story and we all worked together to make sure that it was a harmonious creative path that we were going just cohesively," said the director of films such as In a World (2013) and I Do... Until I Don't (2017).
Bell said her intention was to give Anderson a voice with the story's treatment. "Additionally, making sure that no way we were going to depict Pam in a way that was dehumanising because it was very important that we got to give her voice rather than what she had been served in the reality of this situation when it happened in real-time," she added.
What moved her about Pam & Tommy was how the creators of the show were committed to inspiring the conversation around how society portrays women in the media and “exploits” them, she said.
"We wanted to give the story an opportunity to write itself in allowing for society at large to be culpable and to be responsible for that kind of abuse and misuse of private property... "I also think that society has made it harder for women to express anger and rage."
Bell said Pam & Tommy was a welcome departure for her from the work that she has done as a director. "I have directed things that are more light-hearted. As we grow, there comes interest and a hunger to grow in our careers. This was a beautiful and welcome departure from what I have been doing. And it has unlocked something in me that is pretty exciting. I'm really excited for my opportunity to expand as a filmmaker and creator," she said.
The first three episodes of Pam & Tommy premiered on Hulu on February 2 with the rest of the episodes debuting weekly. In India, the show is streaming on Disney + Hotstar.
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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