Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
A recent list published by Esquire magazine has revealed that 77-year-old Arnold Schwarzenegger is currently the world’s richest actor, with an estimated net worth of $1.49 billion (approximately £1.2 billion). The figure places him ahead of more active Hollywood stars, including Dwayne Johnson, Tom Cruise and Shah Rukh Khan.
The list, released earlier this year, ranks actors based on their total current net worth. While such rankings often include the biggest box office draws, Esquire's compilation stands out for placing Schwarzenegger, who has not had a theatrical release since 2019, at the top.
Schwarzenegger, best known for his roles in The Terminator series, Predator, and Total Recall, last appeared on the big screen in Terminator: Dark Fate. Despite a six-year absence from cinemas, the former bodybuilder, actor and Governor of California has continued to build his wealth through savvy business ventures.
According to Esquire, the key to Schwarzenegger’s fortune lies in his long-term investments in real estate. The magazine states that he began investing in property early in his acting career, gradually accumulating a substantial portfolio. His wealth is also boosted by a reported 5% stake in one of the world’s major investment firms, although the specific firm is not named in the report.
In addition to his real estate holdings, Schwarzenegger’s overall earnings from films, endorsements, and various business ventures over the decades have contributed to his billionaire status. He is expected to make a return to cinema later this year with two projects: Kung Fury 2 and The Man with the Bag.
Ranking second on the list is Dwayne ‘The Rock’ Johnson, with an estimated net worth of $1.19 billion (£950 million). A significant portion of Johnson’s wealth comes from his ownership stake in Teremana Tequila, a brand valued at approximately $2 billion.
Tom Cruise holds third place with a net worth of $891 million (£712 million), thanks to consistent box office success over four decades. He is followed by Bollywood superstar Shah Rukh Khan, widely regarded as Asia’s richest actor, who has a net worth of $876 million (£700 million), according to Esquire.
Other notable names in the top ten include George Clooney, Robert De Niro, Brad Pitt, Jack Nicholson, Tom Hanks, and Jackie Chan. The list intentionally excludes individuals not primarily known as actors, such as Jerry Seinfeld and Tyler Perry, both of whom are billionaires but have significant income from stand-up comedy, directing, or production.
Schwarzenegger’s top ranking may come as a surprise to many, given his relatively quiet presence in film in recent years. However, his long-term investment strategies and diversified portfolio have clearly paid off, securing his place as the wealthiest actor in the world in 2024.
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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