Actor Manoj Bajpayee, whose Sirf Ek Bandaa Kaafi Hai is trending on ZEE5 Global, believes there is a need to make more movies for the theatrical format.
The 54-year-old Padma Shri recipient told PTI over phone from Mumbai on Thursday that while people can enjoy a film on a streaming platform in the comfort of their homes, films (theatrical releases) have "their own beauty".
"There has to be some kind of balance - between OTT and theatre which feed off each other. We need to make more movies for theatres," he said, observing movies last for longer terms.
The Shool actor said the viewing habit of people changed during the pandemic and people got used to watching shows and movies on streamers.
"We need to make more and more movies for theatres, more within the budget. So that people again get used to watching films in theatres and a greater loss can be avoided," Bajpayee said.
Asked the reason behind gangster movies not doing well on the big screen, Bajpayee said he did not entirely agree with the argument and called it "a temporary phase." "Be it gangster movies or any movie, there are so many subjects, so many films. Just because OTT is there does it mean all gangster movies will go to OTT? No. In fact, so many different kinds of films will be streamed and it is a passing phase," the Gangs of Wasseypur actor said.
Asked if he wanted to be part of any Bengali project, he said, "I look forward to being a part of any great project in any language, be it Bengali, Tamil, or Malayalam. But my only handicap is I am not that much well-versed in the language (Bengali).
"It has to be a great project and I want to do complete justice to my role, to me being part of it."
About Sirf Ek Bandaa Kaafi Hai on ZEE5, Bajpayee said, ''This film belongs to the mainstream genre but it does not make anyone larger than life, including the protagonist... People keep watching it again and again as they find the characters believable." The actor is reuniting with Abhishek Chaubey for a Netflix series after Ray.
"It is a series you had never seen before, one of a kind. There are fantastic actors like Konkona Sensharma, Nasser among others in the cast drawn from different regions," he said.
"There are others like Kanu Behl's Despatch, a thriller, and the next season of The Family Man series," he added.
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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