For Milap Zaveri, Hyderabad has always felt like a barometer of mass entertainment, a city whose audiences instinctively embrace commercial cinema. So when he stepped into the madness of Mastiii 4, two decades after writing the first film, he carried that affection with him. “The Hyderabad audience is so used to commercial entertainment, mass cinema. Maybe that’s why I’ve been fortunate that they’ve liked my cinema too,” he says, smiling about a city he also loves for its warmth, culture and surprisingly for its vegetarian food.
Stepping into a universe one has created is a rare privilege, and even fewer writers get to revisit the chaos they once unleashed. With a filmography that includes Kaante, Masti, Heyy Babyy and Housefull, Milap calls returning to Masti franchise ‘humbling’ and ‘exciting’, but also heavy with responsibility. “I was grateful and at the same time nervous because I was taking on the mantle from a legend like Indra Kumar sir. I was getting an opportunity to direct a franchise that he had so brilliantly done thrice before,” he says.
Having collaborated with Riteish Deshmukh before and coming off directorial successes like Deewaniyat, Milap says Mastiii 4 was built on trust. “I was very grateful to the opportunity given by Indu ji, Ashok ji, Amar Jhunjunwala, Shikha Ahluwalia, Riteish Deshmukh, Vivek Oberoi and Aftab Shivdasani,” he shares.
For him, the soul of Masti has always been its unapologetic, mischievous tone — something he never intended to dilute. “I didn’t change the tonality because this is what has always worked at the box office,” he expresses. He also refuses to create with external noise in mind. “I don’t make films based on what society or trolls say. I only think of the audience; those expecting entertainment, madness, naughtiness, adult humour,” he adds.
Reuniting with Riteish, Vivek and Aftab felt more like a continuation than a restart. “They’ve aged like fine wine,” he laughs, adding, “They’ve become even more crazy and mad. The way they picked up from where they left off, it never felt like I was restarting the franchise.”
To give younger audiences something fresh, the team introduced the cheeky idea of ‘Love Visa’. Milap explains it with characteristic irreverence: “It’s basically like a visa that wives give their husbands to allow them to do fun for one week with no questions asked. Love Visa is the free hit of marriage; a man can hit fours and sixes but can’t get out.”
Though he had written earlier instalments, directing this one shifted the weight on his shoulders. “Earlier my responsibility was only the pen; now it was the entire directorial baton,” he says. One of his most reassuring moments came when Indra Kumar himself heard the script. “Indu ji said, ‘Tune toh Mastiii 4, Dhamaal jaisi banayi hai’. That was a big compliment coming from a legend,” he narrates.
Beyond Mastiii 4, Milap is still absorbing the massive impact of Ek Deewane Ki Deewaniyat, which unexpectedly turned into a cultural phenomenon. He recalls the release day vividly: “Harshvardhan Rane was totally mobbed… there was a stampede of fans. Seeing people’s tears — men and women — we knew we had something iconic.” Two decades in, Milap believes the basics remain unchanged. “Entertainment will never go out of fashion. The moment we lose that connection, we lose the audience,” he highlights.
Up next for him is Tera Yaar Hoon Mein, a family rom-com with Aman Indra Kumar, Akanksha Sharma and Paresh Rawal, slated for early 2026. “It’s one of the films closest to my heart,” he says, hinting at more announcements soon.