Global icon Priyanka Chopra revealed that for the first time in her 22-year-long-acting career, she had pay parity when she shot Prime Video’s Citadel, created by the Russo Brothers.
The talented actress was in conversation with Amazon Studios head Jennifer Salke at the inauguration of the South by Southwest Film Festival.
The actor put forward her version with a bit of scepticism. "I might get into trouble for (saying this), depends on who is watching,” she said on Friday. “I have been working in the entertainment industry for now 22 years, and I have done about almost 70-plus features and two TV shows. But when I did Citadel, it was the first time in my career that I had pay parity.”
Citadel is an upcoming big-budget, globe-trotting spy thriller produced by the Russo Brothers and showrunner David Weil (Hunters), and stars Richard Madden (Bodyguard) along with Chopra Jonas.
Priyanka added, “I am laughing about this, but it is kind of nuts, I put in the same amount of investment and work, but I get paid much less. But the ease in which Amazon Studios said, 'That's what you deserve, you are co-leads, that's just fair,' and I was like, 'You're right, it's fair.' And I wonder: Did that happen because there are very few female decision-makers in Hollywood? Would that have been a different conversation if a woman didn't make that decision? Those are not conversations that happened very easily."
Speaking about her character in the series Citadel, Priyanka said, "Nadia is a complex woman. She bears the weight of the world -- as most women do. She doesn't like to show her real feelings and weaknesses. She's the toughest one in the room. She's always the one making decisions, making sure everyone gets home safe. And then you see her vulnerabilities when she's alone, and I felt the burden of her character, it was just so much fun for me to chew into."
The series premieres on Prime Video on April 28, debuting with two episodes, followed by a new episode released weekly on Fridays.
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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