Actor-producer Tusshar Kapoor, who is turning author with Bachelor Dad, says his debut book offers a deep dive into his journey to fatherhood and will touch upon several aspects of being a single parent.
Tusshar Kapoor opted for surrogacy and became a father to son Laksshya Kapoor through surrogacy in June 2016. The 45-year-old actor said people would often ask him to write down his experience of raising a child as a single parent in the form of a book but he thought it was a "far-fetched idea".
Two years ago, however, when publishing house Penguin India approached him with the idea, Tusshar said he thought it was an opportunity to set the record straight on questions he was asked privately.
"The questions were mostly about 'Why did I do it? How is it possible? Is it the right thing to do? and 'Will I be able to do it? After I became a father, the questions were about how I am managing it. The initial surprise was because I was one of the very first people in the fraternity to become a single parent in this manner. A lot of people were curious about the medical aspects, even going into the idea of whether I should have adopted or just got married. People had their own notions," the actor, son of veteran actor Jeetendra and producer Shobha Kapoor, told PTI in an interview.
Tusshar, known for films like the Golmaal series, Shootout at Wadala, and The Dirty Picture, said, though people around him were "curious" about his fatherhood, the response was not negative. In fact, the actor said, his bigger challenge before becoming a father was to first navigate his own doubts and introspect.
"Nobody really reacted negatively. There was a lot of positivity, they were all supportive, but there were questions about how my journey will be. This is why I have written this book, to give an honest account of my journey. I was nervous before taking the step of becoming a father. There were lots of questions that came to my mind as well. (For example) if people will accept it positively? Will there be too much of a shock? Will there be a backlash in the media because I was breaking cultural norms? The book sheds light on all these queries and also chronicles how I decided to take the plunge and eventually found my true inner calling," he added.
Through the course of 10 chapters spread across 224 pages, the book chronicles the last decade of Tusshar's life. As a first-time writer, he said he was initially bogged down by the idea of writing a book but slowly got comfortable as he began writing, every day.
"Initially, I wondered how I would be able to pull this off and write all these chapters. It has been a journey, so the apprehension was if I would be able to remember it all. Another challenge was time. I was busy working during the lockdown, the daytime was spent in my son's online schooling. So, I allotted night time to write the book. When I started writing, I started enjoying it. My writing speed increased, and I was able to finish the book in 11 months. I took it up as a challenge but the process, in the end, became quite fun and enjoyable," he added.
Bachelor Dad is expected to hit the shelves in the first week of February.
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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