Actress Jameela Jamil, who can be currently seen in Pitch Perfect: Bumper In Berlin on Peacock, has revealed that she worked as a ‘human test subject’ before beginning her acting career and becoming famous.
The She-Hulk star appeared on a recent episode of The Jennifer Hudson Show, where she opened up about doing some odd jobs before becoming famous.
“I left school with no credentials because I left school just before my 17th birthday,” she said on the show. “I was hit by a car, very badly, and so when I came out, I did not really have any qualifications. I did not have a university degree. So, I had to do anything I could to make money. And I am not talented sexually, so I could not do porn.”
She further added, “I became a human test subject, which is where they, instead of testing on animals, test on humans. And I would let them test products on my skin and hair and body. And I had psoriasis for a decade, so don’t do that!”
The actress said she was willing to do anything at that point in time because she needed money. “But, you know, I was willing to do almost anything for money ’cause I was 19,” she signed off.
In an earlier interview, Jamil recalled the big lessons she learned from her difficult childhood and said, “I had such a difficult, shitty childhood. And the one thing that’s great about a difficult, shitty childhood is that it leaves you with perspective to recognise when it actually isn’t the end of the world. So that has helped me survive the stupid fucking industry and stupid fucking social (media) and realise that, you know, I think human beings aren’t always amazing.”
She added, “I was so fucking abused and neglected and rejected as a child that I’m almost like lab built to be an activist… I keep going. I keep coming back, and it is truly just being able to recycle all of that pain and rejection and be able to turn it into a kind of armour that maintains my focus. [It] is one of my favourite things about myself. I am proud of my ability to withstand extreme stress and my ability to see failure as cool, because it means that I was willing to try when success wasn’t guaranteed.”
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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