It had been actor-writer Sumeet Vyas’ long-time dream to start directing. The opportunity presented itself when he met writer Khyati Anand Puthran at their kids’ playgroup. Their collaboration, Raat Jawaan Hai, is a story about three best friends who are new to parenthood. To Vyas, the Barun Sobti, Priya Bapat and Anjali Anand-starrer is about the smaller things in life. In conversation with mid-day, the first-time director talks about the Sony LIV show, his own experiences with parenthood, the interesting casting and more.

Edited excerpt from the interview.

The show’s writer is Khyati Anand [Puthran]. It was a coincidence that our kids were friends, and played together at a nearby park. In March 2022, she told me she was writing a script about early parenthood and friendship. She asked me whether I’d like to direct it. I read the script and liked it. She had written two episodes, and we began working together from there. Moreover, we were both going through the phase, so we could bring in our personal experiences. As we developed the story, the plot became more about friendship. We realized that friendship is the first victim of [parenthood] as one is not able to give their friends the same time as they did before.

Of course! If two partners are actively involved in parenting, then it becomes difficult. For example, my wife [Ekta Kaul] has taken a break from work. She is taking care of the child, so how can I go off to party somewhere? I finish my work and go home. I have very little time to spend with Ved, so I’d rather do that. Male or female, whichever parent decides to stay back and take care of the child, it affects them the most. Their social life is as good as non-existent.

The one thing I’ve understood about parenting is that it is very similar yet different. Every person’s right and wrong is different. So when they become parents, their rules differ. You cannot generalize parenting because we’ve all grown up in varied circumstances and economic backgrounds.

Avinash [Sobti’s character] is around friends, so he doesn’t have to filter what he says. He has a child and now, he wants to have a dog. When Suman [Bapat] reprimands him, asking whether it’s the same, Radhika [Anand] says that the animal doesn’t have the responsibility to grow up, take care of his elders. From the time kids are born, they are told they have to come first in class, learn tennis, become a scientist and what not! [laughs].

To each his own. I don’t think any aspect of life completes you. I always wanted to have a child, and I have friends who didn’t; either option is fine. No matter what decision you take, the grass is always greener on the other side. If your kid is crying in the night, while your friends are chilling, you may miss it. On the other hand, they may feel that you are lucky to get to play with a child. In India, we shouldn’t be worried about this. We have an abundant population [laughs].

The first actor we approached was Priya, she is also Khyati’s friend. When Khyati was writing the part, she had Priya in mind. When we approached her, she was more than excited to be a part of it. She is exceptional in the show. Anjali was a complete surprise. I had never seen her previous work. Sony recommended that we meet her. The ease with which she carries herself is quite something. Barun’s casting was out of the blue. We were struggling to find Avinash. I saw Kohrra [2023] around that time, called him and suggested the role. He is a desi guy, and loads of fun. 

Not with this show. From the onset, I always wanted to direct it. There is a certain pace that I wanted for it. Like when we watched Malgudi Days, [even though] the episodes were all 30-minute-long. I wanted to narrate a story with tasalli. If someone cannot watch the show for 30 minutes also, and he has to watch five reels, then he may not watch it. I didn’t want to compromise on the temperament. If people can relate to the story, they will watch it.

 

No, I thought I would. But from the second or third day, I found my groove. We shot for close to 40-45 days at a stretch. I didn’t feel I had to prove a point to anyone. I wanted to tell the story as honestly as I could. The story demands a certain pace because it is about smaller things [in life], there is no melodrama to it. One reference point I had is of a film that I had acted in many years ago, English Vinglish [2012]. There is innocence in this narrative, which is why it connects with a larger audience.