Tabu on back-to-back hits Bhool Bhulaiyaa 2, Drishyam 2: Everybody deserves share of success
Speaking at the trailer launch of her next film “Kuttey”, set to be released on January 13, Tabu said the success of a movie can’t be attributed to an individual.
Bollywood star Tabu, who has had a great 2022 with the box office triumph of films like "Bhool Bhulaiyaa 2" and "Drishyam 2", on Tuesday said the success of a movie belongs to every member of the cast and crew.
Both "Bhool Bhulaiyaa 2", a horror comedy by Anees Bazmee, and "Drishyam 2", a mystery thriller led by Ajay Devgn, have emerged as two of the most profitable Hindi titles amassing over Rs 200 crore each in an otherwise dull year for Bollywood.
Speaking at the trailer launch of her next film "Kuttey", set to be released on January 13, Tabu said the success of a movie can't be attributed to an individual.
"First of all, it's the entire film's success, rather than one person's success. I've been an important part of both films. But the success and joy are shared with everybody who has supported the films.
"There's tremendous happiness for the films and what they've achieved because everybody works hard. Everybody deserves a share of the success. I feel a huge responsibility that I've fulfilled if a film has done well because somewhere I've been a part of that," the 51-year-old actor told reporters here.
Billed as a dark comedy, "Kuttey" marks the directorial debut of Aasmaan Bhardwaj, the son of Tabu's filmmaker friend Vishal Bhardwaj, who worked with her on "Maqbool" (2004) and "Haider" (2014).
While their directing styles are different, the father-son duo allow their actors a lot of creative freedom, she said, adding there is "no comparison" between the two.
"The creative exchange I have with him (Vishal Bhardwaj) is different from when I'm working with others. I have a lot of creative freedom when I'm working with him, also with Aasmaan.
"This (film) is very different from Vishal ji's films. There's no comparison. Of course, the aesthetics and many other things match with Vishal, but his cinema is different," added Tabu, who previously worked with Vishal Bhardwaj in "Maqbool" (2004) and "Haider" (2014).
The two-time National Award winner, who plays a cop in "Kuttey", revealed the part was originally written for a male actor.
"This character was written for a male actor. It was then changed for me. So, it was very challenging and fun for me. It's very different from my recent work," she added.
Previously, Vishal Bhardwaj had said he flipped the gender of his lead character in their upcoming spy film "Khufiya" for Tabu.
First-time filmmaker Aasmaan Bhardwaj said he is looking forward to the release of his film.
"I'm just really grateful and thankful to have got this opportunity. I'm just very happy to have fulfilled my dream... I just want to do good work," he added.
Vishal Bhardwaj wears multiple hats as a producer, music composer and co-writer with his son on "Kuttey". His frequent collaborator Gulzar has penned the lyrics.
"It was both a tough and easy job for me. Sometimes, Aasmaan took advantage of me, and at times, I did the same to him. But, he gave me the toughest time as a dialogue writer," he said.
The acclaimed filmmaker said he had pledged "to not visit the set" to ensure that nobody would feel he had contributed to the project as a director.
"When I saw Aasmaan's work as the rushes came in, I felt very happy. I'm thankful to all my friends standing here. They trusted Aasmaan. As a first-time filmmaker achieving this kind of work and working with these kinds of people, it's a huge thing in itself," Vishal Bhardwaj added.
"Kuttey" also stars Arjun Kapoor, Naseeruddin Shah, Konkona Sen Sharma, Radhika Madan, Kumud Mishra and Shardul Bhardwaj.
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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