R Madhavan has been entertaining audiences with his variety of performances for close to three decades, acting across various industries and languages, but the actor says he is still waiting to deliver his best performance.
Madhavan started off as a model and later ventured into acting with TV shows like Banegi Apni Baat, Ghar Jamai, Saaya and Sea Hawks. His first major hit in movies was Mani Ratnam's Tamil romantic film, Alaipayuthey (2000). He followed it up with films like Minnale (2001), which was remade in Hindi as Rehnaa Hai Terre Dil Mein (2001), Kannathil Muthamittal (2002), Anbe Sivam (2002), Vikram Vedha (2017), Nishabdham (2020) and Maara (2021).
Apart from cementing his position in Tamil and Telugu cinema, the actor also actively pursued a career in Bollywood and attained success with supporting roles in Rang De Basanti (2006), Guru (2007), 3 Idiots (2009), Tanu Weds Manu (2011) and Tanu Weds Manu Returns (2015).
Reflecting on his illustrious journey, the 51-year-old star said he still craves for diverse roles. “I feel very inadequate right now. I don't think I will ever reach that stage ever. When a big star or politician or leader, who embraces and says and means that he likes my work or I meet people from different generations, maybe that time I feel I am on the right path. But I still strongly feel that my best is yet to come. I don't know if it is a safety mechanism or that is a fact. I have never sat around... The fact that I have also financially never (been) super settled at any given point of a time, the hunger to create a star life has always kept me wanting more,” Madhavan said during a virtual session on day three of the India Film Project.
The actor believes he would hardly ever reach a stage in his life where he would feel he has made it. “I have realised that I can never live like a star, I am a terrible star. I don't wear designer clothes. I can't afford to have people around me all the time. I also realise that your demeanour and the way you walk at the airport or in public kind of decide how many people mob you and how many leave you. I am very hungry. I don't think I have ever reached a stage where I feel I have made it.”
He recalled when he started out in the Tamil film industry, he was very conscious of his age as he was doing a love story when he was 30-year-old. “As soon as I finished Alaipayuthey, I (felt) needed to get into a bracket of age group where I will be able to play that sort of role over and over again because it becomes easier to catch a particular genre and keep making movies in that genre when it works. And people have done that before and it has worked for them. But I realized that maybe I won't be this young teenager looking for a long time. Hence, I jumped into Kannathil Muthamittal (2002), where I played the father of three children. Most guys told me (it was) suicide that time.”
He also added that the fear of not being able to shake a leg and punch the bad guys on screen made him realise that he can't be like the other heroes. “I was very conscious that I had to find a niche for myself where I am not competing in areas that are not strong for me. In that attempt, I started doing roles that were very varied, which were not in the mainstream realm of films but had the ability to earn a lot more than what was invested. That became an addiction over a period of time and I started picking up roles that people normally would not associate with commercial heroes. I started playing to my strength and here I am today and my absolute desire to do something different,” he said.
Next for Madhavan is his directorial debut Rocketry: The Nambi Effect, which is based on the life of Nambi Narayanan, a former scientist and aerospace engineer of the Indian Space Research Organisation.
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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