Call it serendipity or coincidence, Nikkhil Advani ended up with two releases on the same day last month – the re-release of Kal Ho Naa Ho and the release of the period drama Freedom At Midnight. He says he can’t really take credit for either of the projects or the release dates. “I was just offered the projects, and I didn’t say no,” he said during a conversation.

Nikkhil says he enjoys filmmaking. “I enjoy being on set. I love being in a writers’ room. As a showrunner and producer, I constantly have to be in rooms where budgets are being discussed and, more importantly, where budget cuts are being slashed. I’ve never really enjoyed being in an editing room, though. I hate it because every time I watch my footage, I find myself thinking, ‘I could have shot this better. I wanted it to be better. Maybe we can change this,” he says.

Watching Freedom At Midnight may remind the audience of the historical drama The Crown. Nikkhil says, “Was it a conscious decision to be like The Crown? Yes, very much. What The Crown does is use very harsh backlight from the windows, and they shoot a lot on sets. We were also shooting extensively on sets, so it became an automatic reference point for us. Agar aap blue ya green screen use karte ho, then half your budget goes into VFX, and you can’t do anything else.”

He further explains, “These are things I’ve learned over the years. For instance, if I want the audience to feel a little more stressed out, I use darker colours and wood paneling. Colours were thought out very carefully because I wanted the audience to be emotionally connected to every scene of Freedom At Midnight.”

Nikkhil says that as far as authenticity is concerned, the team tried their best. He explains, “But I don’t think it can ever be enough, right? The people being spoken about and shown in this story were giants. It’s not just about getting their physicality, speech, or walk right. What they thought, what they said, their vision – it was immense. What I tried to do was put the audience into a room with them and show, yeh log kaise thay.”

“Neither did I have a choice about the release of Freedom At Midnight, nor did I have a say in the re-release of Kal Ho Naa Ho,” shares the filmmaker, adding, “I’m just glad that after 21 years, people are still watching Kal Ho Naa Ho, dancing to Maahi Ve, and sending me video clips.”

He says, “I didn’t consciously make these choices. Someone offered me Freedom At Midnight, and someone offered me Kal Ho Naa Ho. Maine keval bola, ‘Mujhe kaam chahiye, mujhe kaam karna hai.’ My sister (Monisha Advani) and my production partner, Madhu (Bhojwani), often ask me, ‘When will you turn around and start saying no?’ And I reply, ‘I won’t. I’ll never say no. If I’m offered a project, why would I say no?’ Logon ke paas kaam nahi hai. People often say, ‘You’re doing so much work,’ and the reason is simple I say yes to everything. When I was doing the post-production for Vedaa, I was simultaneously shooting Freedom At Midnight. I don’t say no; I only say yes. Karan (Johar) told me to do Kal Ho Naa Ho, and I said, Okay.”