Saif Ali Khan has been in the industry for the past 28 years. He started his career with the 1993 release Parampara. In these 28 years, Khan has seen a lot of ups and downs in his career and has evolved as an actor.
Recently, while talking to PTI about how he has evolved in cinema, the actor said, "I was completely clueless and now I'm a little bit less clueless, that's the extent of my evolving. I mean, one learns and life teaches you things. If you keep doing the same thing and you don't change, then you age in a different way. But if you do evolve and if you are learning and expanding, you can be interesting at 50. You have a lot of experience.”
"I think I've done well from the art I've collected to the homes I've built to the kind of heritage I've tried to look after, Pataudi, to the work I'm doing. It's been a creative life so far, especially with a bit of a bad start. I think there have been influences that I've been very lucky to have like the kind of academic educational influences or even the influences of my father and the legacy of my grandfather, the Tagores. There are a lot of things that come into play in what makes a person," he added.
At the starting of his career, Khan was called the chocolate boy of Indian cinema due to his clean-shaven look. However, with performances in movies like Being Cyrus, Ek Hasina Thi, and Omkara, he changed his image.
The actor said, "I've always thought that it's interesting to do different stuff really. I just thought Homi (Adajania, director of Being Cyrus) was very interesting, and making an English movie would be fun. I thought Ek Haseena Thi would be great because I was doing Kal Ho Na Ho and everyone said, ‘chocolate boy'. And I thought it'd be quite cool to play this kind of role. Ram Gopal Varma (producer of Ek Haseena Thi) gave me a chance to act like somebody else."
Khan feels that Omkara has set a benchmark for him. He said, "I think somewhere Omkara has set a benchmark early on in my career. I don't think you can do more and be totally different. So I'm very happy with that benchmark and very proud of that movie, but I constantly feel there has to be more to life than Omkara. For some of my other films, very often people have written that 'this is his best performance to date'. So that's great that they've said that. So as long as that keeps happening, it's good."
"I really think that Tanhaji was amazing and the role of Lankesh in Adipurush is amazing," he added.
Tanhaji was directed by Om Raut and Adipurush is also being helmed by him. The movie also stars Prabhas and Kriti Sanon in the lead roles.
Khan is happy that the film industry has evolved and there is no demarcation between characters that are heroic and villainous in nature. He feels that it was award functions that used to bracket actors into various categories like the best villain or best comedian.
He said, "A lot of award functions in India are extensions of TV channels. I think every major award function has a different channel. They try to get as many actors as possible to then say, give this guy best villain, give this guy best comedian and give this guy best actor. So it kind of loses credibility, but it suits the actors most of the time. They are happy to get an award and be part of the system. But the real winner is the TV channel. So they make a TV show out of it and we are all junior artists -- attending, performing, doing this, and doing that."
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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