There is no doubt that Varun Dhawan is one of the most successful actors of Hindi cinema today. Ever since he made his acting debut with Karan Johar’s 2012 release Student Of The Year, he has delivered nothing but back-to-back hits at the box-office. And looking at his slate of upcoming movies, we are sure that many blockbusters are in store.
Dhawan, who is presently shooting for Abhishek Verman’s forthcoming directorial venture Kalank, will soon team up with choreographer-turned-filmmaker Remo D’souza for his next film ABCD 3, a sequel to the latter’s successful film franchise ABCD.
Now we have come to learn that after the success of his recent release Sui Dhaaga (2018), Varun has almost doubled his fee. Reportedly, the actor will be taking a fat paycheque of ₹ 21 crores for his role in ABCD3. Now that’s an eye-popping amount of money! Isn’t it?
If Varun is really charging the said amount for the dance-drama movie, it makes him the highest paid actors among the current crop of actors in Bollywood. "Though Sui Dhaaga: Made In India and October (2018) weren't exact money-spinners, there is no denying that Varun is the most bankable amongst the young crop of actors. The producers have agreed to the amount. This fee places him in a league higher than Ranveer Singh and Ranbir Kapoor,” a source reveals.
Also starring Katrina Kaif, ABCD 3 will be shot in 3D and will release in 4D and IMAX format. The makers are planning to commence the shoot in January and prepare the film for a November 2019 release.
Besides Kalank and ABCD 3, Varun Dhawan will also be seen in filmmaker Shashank Khaitan’s next Rannbhoomi which is expected to roll in 2020.
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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