Former Pakistan off-spinner Saeed Ajmal is still not over the disappointment of missing Sachin Tendulkar's wicket in the lost 2011 World Cup semifinal against India and is now deriving solace from English umpire Ian Gould's recent assertion that the iconic batsman was indeed out.
Tendulkar, who made crucial 85 runs in the semifinal at Mohali, was on 23 when Gould ruled him out LBW off Ajmal. But third umpire Billy Bowden, after a review, overturned the decision.
Gould, who served on the ICC's elite panel of umpires, recently said that he would stand by his decision of giving Tendulkar out.
Recalling the incident, Ajmal, now 42, said, “It was straight in front and I was 100 per cent sure he was out. Shahid Afridi, Kamran, Wahab and other players asked me was he (Tendulkar) out and I told them he is gone.”
He said he was heartbroken after the third umpire ruled Tendulkar not out.
“I never got a chance to bowl to him in a Test so whenever I played against him in white ball cricket I always wanted to do my best.
“More disappointing was that we lost the semifinal and it is obvious that Tendulkar's 85 runs made all the difference,” he said on a television channel.
“Even today, the third umpire's decision baffles me. Maybe luck was with him that day and he went on play such a crucial innings for his team,” said Ajmal who played 35 Tests between 2009 and 2014, taking 178 wickets.
He also took 183 wickets in 113 ODIs and 85 in 64 T20 Internationals.
Ajmal said Gould was upset after his decision was overturned by the third umpire.
The off-spinner's career, however, came to an unceremonious end after a tour of Bangladesh. His bowling action was reported in 2014 and he could not cope with the subsequent modification and retired in 2017.
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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