‘We didn’t want Sky Force feel like ‘been there, seen that’ vibe’

Known for his work on Drishyam 2, Runway 34, Bholaa and Sky Force, Aamil Keeyan Khan opens up about his unconventional journey, his unique approach to storytelling, emphasizing emotion, suspense and more
Tejal Sinha
From a struggling artist juggling multiple roles to becoming one of the most sought-after screenwriters in the industry, Aamil Keeyan Khan’s journey is a testament to perseverance, adaptability and an unrelenting passion for storytelling. 
With films like Drishyam 2, Runway 34, Bholaa, Shaitaan, and Sky Force to his credit, he has mastered the art of keeping audiences at the edge of their seats. His work on Drishyam 2 even earned him the prestigious IIFA Award for Best Story (Adapted). In an exclusive chat with The Pioneer, Aamil delves into his approach to screenwriting, the art of suspense and his unexpected journey into the world of cinema.
Khan’s journey into screenwriting was anything but conventional. In fact, he describes it as a “happy accident.” Reflecting on his early days in Kolkata, he recalls how financial constraints led him to writing. “Back in Kolkata, I co-founded a theatre group with my friend Anshuman. We acted, produced, and managed the plays, but we barely had enough money to pay for the auditorium — hiring a writer was out of the question,” he says. “The older plays felt dated in terms of language, so I was forced into writing simply because we couldn’t afford a proper writer. Necessity is a great teacher, and that’s where it all started.”
However, Khan never saw himself as confined to one particular role. “All the guys I admire — Kishore Kumar, Sylvester Stallone, Clint Eastwood — they’ve mastered multiple crafts,” he says. But he also acknowledges the reality of surviving in the industry. “Let’s be real: when the rent is due, you sell whatever sells. Desperation made me cook up ideas in the hopes that someone would buy them.”
Determined to make a mark, Khan moved to Mumbai in 2016 and threw himself into the grind. “I was hustling from morning to midnight — auditioning as an actor during the day, building websites in the afternoon, doing stand-up comedy in the evening, and writing stories at night,” he recalls.
Interestingly, his first break in the industry wasn’t in screenwriting but in editing. “Ironically, I didn’t even start as a screenwriter. My first paid gig was in editing — I assisted cinematographer Sanjay F Gupta on his documentary, editing parts of it.”
But storytelling eventually took over. “I started developing ideas, and in 2020, with Runway 34, let’s just say… things finally took off,” he says with a smile.
Discussing his approach to screenwriting, he emphasises that every film demands a unique treatment, but at its core, storytelling is always about emotion. “Every story boils down to what it makes the audience feel. The first step is to identify the core emotion of the film — fear, tension, excitement, hope — and then build everything around that.”
Once that emotional foundation is in place, choosing the right genre to convey the story becomes crucial. “A thriller like Drishyam 2 is all about suspense and deception — keeping the audience guessing while making sure every reveal is satisfying. Runway 34, on the other hand, had elements of mystery and survival, so the storytelling had to create a sense of urgency and pressure while staying grounded in reality.”
Screenwriting, he says, is also about when and how to reveal information. “In high-stakes stories, tension comes from what the audience knows versus what the characters know. The goal is to keep the audience leaning forward, making them active participants in the story. Whether it’s a mind game like Drishyam 2 or a high-intensity drama like Runway 34, the challenge is the same — keeping people invested, right up to the final frame.”
For Khan, his latest project, Sky Force wasn’t just another war film — it was a story that needed to be told. “Some stories aren’t just told; they demand to be told. Sky Force was one of them. For me, this wasn’t a war film — it was a film about brotherhood. It’s not the machine, but the man behind the machine that matters.”
At the heart of the film lies the relationship between the officers, a dynamic that drives the narrative forward. With a filmography spanning thrillers, action, and drama, he has proven his ability to adapt to different storytelling styles. He believes the key to mastering different genres lies in understanding their rhythm. “Storytelling is all about rhythm. A thriller demands tension and precision, an action film needs momentum, and a drama thrives on emotion. The trick is to listen to the story — some need a slow burn, some need a ticking clock.”
Rather than imposing a personal style on every film, he lets the genre dictate the tone. He also turns to classic films for inspiration, studying what makes them work. “Besides that, I have my go-to bibles in every genre — films that I revisit to understand what makes them work. It’s not about copying but about learning the craft from the best and then finding my own way to figure that rhythm.”
Given Khan’s previous work on Runway 34, one might assume that he was well-prepared to write another aviation-based film. But Sky Force presented an entirely new challenge. “Having worked on Runway 34, which was also an aviation-based film, we thought we had some idea of what we were walking into… but boy oh boy, we couldn’t have been more wrong,” he admits. One of the biggest challenges was ensuring that the aerial action sequences felt fresh and engaging. “It was crucial that the scenes didn’t give off a been there, seen that vibe,” he explains. “To achieve that, we had to take all the technical information and present it in the simplest layman terms possible — so that when the action unfolded, when the dogfights happened, the audience knew what was going on.”
One of the defining aspects of Khan’s work is his ability to craft morally ambiguous characters that resonate with audiences. He believes that the most compelling stories force audiences to confront their own moral boundaries. “There’s a good wolf and a bad wolf within all of us, and the most gripping stories explore that battle,” he says. “The key is making the audience understand a character’s choices, even if they don’t agree with them. In Drishyam 2, the tension comes from making people root for someone who is technically guilty. In Shaitaan, it’s about power and control. These stories resonate because they force the audience to ask, What would I do in their place? — and that’s when storytelling becomes truly powerful.”
Instead of chasing commercial success, Khan prioritizes storytelling that feels authentic to him. “I focus on whether the film works for me first. At least that way, I know there’s one person who genuinely enjoys it. And if it feels right to me, I hope and pray it’ll resonate with others too.”
Writing for an established franchise like Drishyam 2 comes with immense pressure, but Khan’s approach is refreshingly simple — he ignores the expectations. “By forgetting that it’s part of an established franchise and focusing entirely on crafting a kick-ass narrative,” he says. “The pressure of expectations can be distracting, so I try not to think about it.”
Rather than being weighed down by the legacy of a previous film, he focuses on what makes the story compelling on its own. 
When asked about the most difficult project he has worked on, Khan doesn’t hesitate. “That’s my next film,” he says with a grin. “How did I overcome the creative hurdles? I haven’t. Still figuring that one out.”
While he remains tight-lipped about his upcoming projects, he hints at a diverse and exciting lineup. “All top secret!” he teases. “There are five feature films and two web series in the works, spanning thrillers, true stories, crime, action, drama, comedy, and, of course, horror.”
And as for what audiences can expect? He keeps it simple. “The same thing as always — expect the unexpected.”