After proving his mettle as one of the most popular comedy stars of Bollywood, actor Shreyas Talpade has wielded the directorial baton for the film Poster Boys. Making a directorial debut with a comedy film is not a cakewalk, but Talpade’s immense experience, which he gained after starring in numerous comic capers over years, came handy. Eastern Eye recently caught up with the actor-turned-director to talk about his film and his thoughts behind taking up an unconventional subject and how could he imagine Sunny Deol and Bobby Deol in their respective roles.
Poshter Boyz was a huge success in Marathi. What kind of major changes did you introduce in its Hindi version, titled Poster Boys?
Nothing major! There were some minor changes in the characters, though, certain things that I felt should have been revamped and changed. Few scenes and sequences that I feel were being dragged; I tried to make them crispier and compact. The Marathi one is based in Maharashtra, the Hindi version is based in North India. In terms of characters, Dilip Prabhavalkar's character was played by Sunny Deol. His character was slightly older and here he is a little younger keeping Sunny Deol's age in mind. He plays a retired army officer. Besides that, the core story remains the same and we have kept that intact. It would have been stupid on my part if I had brought in changes in the story.
Will the audience get to see the same humour in the Hindi version too?
Absolutely! In fact, we have made it more humorous.
Did you narrate the whole story to the actors or you showed them the original film?
The writer Bunty Rathod and I went to narrate the whole story to Sunny Deol, Bobby Deol.
Did you become the director of the film by choice or was it accidental?
We did not have any director on board. When I narrated the story, Sunny Deol liked the way I put forth the whole story before him. He was the one who suggested that I direct the film as he felt that I was very clear about what I wanted. I wanted to direct a short film and then may be a couple of years later I thought about directing a full-fledged film. He said that he could see the entire film and so he wanted me to give it a try. He said that I would have a technical team besides me. I gave it a thought and even my friends said that when he is confident about it why do I worry about it and there is no point in getting scared about it. So that's how it happened.
How was it to work with the Deols and how did they come on board?
Parag Desai (PR Professional) was the one who was instrumental in getting things done. Coming to the story, I always had Sunny Deol in mind. Someone rightly said that you know James Bond for being him and then you see his picture on a poster promoting vasectomy. He (Sunny Deol) is the eternal he-man and mard of the industry. Suddenly, we come and say "Unki toh humne nasbandi karva di". You have that bewildered look on everyone's faces. So that was one thought and that's the reason I wanted to do it with him. One more reason is that the kind of credibility he gets to a particular subject is immense. People have known him for the last thirty-five years. With Sunny Deol in the film, people expect a nice family entertainer because the subject is sensitive and related to vasectomy. I wanted all those apprehensions to go away. With them, in the film, it will definitely be a nice, clean and family entertainer.
How did you go about with the idea behind the poster where Sunny Deol, known for his "the dhai kilo ka haath" is shown as "pau kilo ka haath"?
The myth around vasectomy is that when one gets operated he loses his power and becomes weak. That is the reason it is considered as an embarrassment for people. Suddenly, the hale and healthy man is considered useless. Considering this, we came up with the idea of the poster.
What kind of workshops did you do for the actors?
I did a lot of workshops with Bobby Deol and I didn't dare to ask Sunny Deol about it. In fact, when I narrated the story, Bobby Deol was the one who suggested we do workshops as he had to speak chaste Hindi in the movie. That made it easier as I was about to suggest the same to him. He took the initiative and said that “I will do it.” We did workshops for about 10-12 days. We would start with Gayatri Mantra so that his tongue becomes a little lighter and he could mouth all his lines properly.
Who came up with the idea of the recreation of the song "Oye Hoye Kudiyaan Sheher Di"?
It's in the beginning of the film which sets the tone and mood of the movie. That is where the actual case happens. It's a fair song where all the three protagonists go and that's where they click these pictures which you see on the vasectomy poster. Sony Networks suggested the idea and said why don't we recreate one of Sunny Deol's hit tracks. Then we came across this number. It was a high voltage kind of a song that set the tempo. After selecting the song, I said to Sunny Paji that he would have to dance. He was like, “Yes, don't worry I will give my best.” But on the day of the shoot, he saw the steps and said: "I will just go to the van and come back." He said, “I am not feeling well and I am not dancing.” I said, “You are not going to run away from dancing. So Ganesh Master showed him the steps. He did it once and everybody clapped it and so he was like "Dekha sab ko pasand aaya.”
There was a cameo of an actor in the Marathi version. Do we see the same in the Hindi version too?
Yes, you do but I can't reveal and as it's a surprise. There is a dear friend who is doing it.
Are you stressed about box office numbers of the Hindi version?
Definitely, I would be lying if I say no. There are certain things you have no control over and there is no point stressing about it. There is pressure as the Marathi version was a hit but, at the same time, we have given our best. Once it comes out it's all up to the audiences whether they like it or not. There is so much we can do as filmmakers and beyond that audience will decide.
Poster Boys, featuring Sunny Deol, Bobby Deol and Shreyas Talpade as leads, is running successfully in cinemas.
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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