Simu Liu eyes Bollywood after showcasing dance moves in 'Barbie'
The actor reunites with Awkwafina and John Cena in the upcoming Prime Video comedy ‘Jackpot!’
By Eastern EyeAug 17, 2024
HOLLYWOOD star Simu Liu, known for his breakthrough role in Marvel’s Shang-Chi and the Legend of the Ten Rings, hopes that his dancing skills showcased in Barbie will open doors to Bollywood. Liu, who played the role of Rival Ken in Greta Gerwig's 2023 blockbuster, expressed his strong desire to be part of a Bollywood film.
In an interview with PTI, Liu shared his enthusiasm, saying, "I think I've made my intentions very, very clear. I would love to be in a Bollywood movie." The actor, who often sparred with Ryan Gosling’s Beach Ken in Barbie and participated in a memorable dance-off, hopes this experience will serve as an audition for Bollywood opportunities.
In Barbie, Greta Gerwig's 2023 summer blockbuster, the actor played Rival Ken who often sparred with Ryan Gosling's Beach Ken. They also have a dance-off on the popular song I'm Just Ken.
"Hopefully, my work in Barbie is an appropriate audition for Bollywood because there's a lot that we have in common, a lot of music and dance numbers. I would love to come to India. So I'm putting that out in the universe and hopefully, the universe will give me something back," the 35-year-old said.
Written by Rob Yescombe and directed by Paul Feig, the filmmaker behind hits such as Bridesmaids, The Heat, and A Simple Favor, Jackpot! revolves around Awkwafina's character Katie, a struggling actor new in a near future California. After Katie wins a lottery, the public is after her life because of a rule that allows the person who kills her to claim all the winning money.
In the comedy, Liu plays Louis Lewis, a character whom he described as a "slick and charming" guy who is also "very enterprising and backstabby". Lewis befriends Katie and Cena's Noel with the intention to kill them and take away the money.
"I do think an actor playing a villain is allowed to go to more places and have a little bit more fun. I definitely had a lot of fun on this one and the experience of working with Awkwafina... (again) It felt just like an awesome reunion of sorts and getting to face off against John is... What can I say? Like a childhood dream of mine," he said.
Liu and Cena, a popular name in the WWE pantheon, closely worked with stunt coordinator James Young who helped them use their physicality to deliver a convincing performance.
"John and I really take this stuff seriously. We geeked out in the preparation process, all of the rehearsals and kind of running choreography in between takes. He's such a student of life and I appreciated working with him."
The actor worked with Cena on "Barbie" but they didn't have any scenes together. Liu, however, got to know that Cena would have a cameo as a Mermaid Ken in the film, an idea that tickled him.
"He shot his cameo with Dua Lipa as Mermaid Barbie and (him as) Mermaid Ken probably on a soundstage somewhere on his own. When we were shooting it, we were looking at the laser pointer dots in the distance.
"We had no idea what we were looking at and we were just told that it would be John Cena dressed in a mermaid outfit. That was pretty great for imagination, but I didn't actually get to see him," he said.
Liu shot to fame with Canadian TV sitcom Kim's Convenience and went on to solidify his stardom as Marvel hero Shang-Chi, a role he hopes to reprise in future. (PTI)
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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