Anthony and Joe Russo are known for making films that boast of grandeur and opulence. Whenever the filmmaker duo is behind the camera helming a project, fans expect nothing but grandness in plenty.
The Russo Brothers are presently busy promoting their much-talked-about film The Grey Man, which they wrote, directed, and produced for Netflix. They have revealed that the streaming giant gave them a humongous amount of approximately $200 million to trot worldwide and have Ryan Gosling and Chris Evans painting shadow workers of the CIA who’re attempting to kill one another.
Sharing his filming experience across the globe, Joe Russo stated, “It nearly killed us.”
One sequence of the film took almost a month in filming as it involved massive weapons, a tram automobile barrelling by means of Prague’s Outdated City quarter, and Gosling preventing a military of assassins whereas handcuffed to a stone bench. The makers reportedly spent roughly $40 million to shoot that particular sequence. “It’s a film inside a film,” Anthony Russo stated.
Talking about The Gray Man, the Russo Brothers said in another interview that the film took nine years to make. “It took nine years to make this film because of our busy schedule. We were in awe of Mark Greaney’s writing and the amount of research he does. We are always on a quest to develop interesting sideways to a genre.”
They went on to add, “Having been inspired by the 70s thrillers that we grew up on, The Gray Man encompasses the themes of a very complex political and rebelling against the system, and we have reflected on our own fears about the world. Considering the peculiar genre of the film, we wanted to create a world for the audience to immerse themselves in; thus, we have an incredible cast that has a level of detail and thought and back story to them.”
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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