Abhishek S Vyas On Taking Leap From Corporate Leadership In Netflix, Disney To Building AVS Studios- EXCLUSIVE

Abhishek S Vyas interview: It takes a lot more than conviction and determination to establish a brand in the world of storytelling. While previous experience always counts, one has to be decisive and careful while taking baby steps in the arena of entertainment. At Filmibeat, we love interacting with people who have a long-term vision. As we caught with Abhishek S Vyas to know about his transition from corporate leadership to building his own brand, the producer revealed his long-term plans and how he aspires to keep the audience engaged, especially at a time when interest level has gone down.

Abhishek S Vyas, who is the Founder and CEO of AVS Studios, backed Mohanlal's Vrusshabha, which released in 2025. In an exclusive conversation with Filmibeat Chief Copy Editor Abhishek Ranjit, he spilled the beans on his plans to expand beyond films and build cultural IPs.

What made his transition from working in leading entertainment brands like Netflix, ZEE and Disnet to building AVS Studios? Grab a bowl of popcorn and start the reading session.

Here are excerpts from the interview

1. You've worked with some of the biggest names in global entertainment like Netflix, Disney, Viacom18, Zee Entertainment, and Eros International. What made you take the leap from corporate leadership to building AVS?

Working across organisations like Netflix, Disney, Viacom18, Zee, and Eros gave me a front row seat to how large-scale content ecosystems are built, monetised and globalised. I was fortunate to work across content strategy, acquisitions, development and partnerships, which meant I understood both the creative and the commercial levers of the business.

But over time, I realised that while platforms are incredibly powerful, they are still curators of content within defined mandates. As an executive, you are evaluating projects based on alignment with brand, subscriber strategy, regional focus or quarterly goals. I wanted to build something where the mandate itself could be fluid. I wanted the freedom to back stories, not just because they fit a platform strategy, but because they deserved to exist.

Founding AVS was not an impulsive decision. It came from observing a structural gap. There are many production houses and many platforms, but very few companies that think of entertainment as a broader cultural ecosystem. Film, art, IP, audio, licensing and cross-border collaborations are often treated as separate industries. I saw an opportunity to build a platform that operates at the intersection of all of them.

The leap was really about ownership of vision. In corporate roles, you optimise within a system. As a founder, you build the system.

2. AVS started as a film production and funding company. What kind of stories excite you most as a producer today: mainstream entertainers, niche festival films, or global crossover cinema?

For me, it is less about the category and more about intent and clarity. Mainstream entertainers excite me when they are rooted in strong emotional storytelling and cultural specificity. India has always had a deep tradition of spectacle and drama, and I believe commercial cinema has immense power when it is crafted intelligently. Entertainment does not mean superficiality.

At the same time, I deeply respect niche, festival-driven films that push boundaries, explore uncomfortable truths, or experiment with form. These films expand the language of cinema. They may not open big on day one, but they often define the long-term cultural memory of a generation.

What increasingly excites me is global crossover cinema. Stories that are deeply Indian in texture but universally resonant in theme. We are in a moment where language is no longer a barrier. A Malayalam thriller can trend globally. A Korean series can become mainstream in Mumbai. That opens up extraordinary creative possibilities.

At AVS, we are interested in stories that travel because of their emotional truth, not because they are diluted for global appeal. I believe the more rooted a story is, the more universal it can become.

3. Having worked across theatrical, television, and OTT ecosystems, how do you see the balance shifting between big-screen spectacle and streaming-driven storytelling in India?

I don't see it as a battle. I see it as a recalibration.

Theatrical cinema in India will always exist. The communal experience of watching a large-scale spectacle on the big screen cannot be replicated at home. Event films, high-concept action, mythologicals, star-driven entertainers and certain kinds of dramas are designed for that immersive experience. Streaming, on the other hand, has democratised storytelling. It has allowed mid-budget films, long-form narratives and unconventional voices to find audiences without being constrained by box office pressure. It has also made audiences more sophisticated. Viewers now expect layered characters, tighter writing and global production standards.

What has changed is that audiences are more selective about what they leave their homes for. Theatrical films need to justify the experience. Streaming content needs to justify the time commitment.

In India, we are still in a hybrid phase. I believe the future belongs to creators who understand format deeply. Not every story needs to be a series. Not every story needs to be a theatrical film. The key is to match ambition with the right platform strategy from the very beginning.

4. Based between Mumbai and Dubai, how do you identify stories that can travel across borders while still staying rooted in Indian culture?

Living between Mumbai and Dubai gives me a very unique vantage point. Dubai is a global crossroads. You see audiences from South Asia, the Middle East, Europe and Africa interacting in the same city. It constantly reminds you that culture is both local and fluid.
When we evaluate stories at AVS, we look at emotional universality. Themes like ambition, identity, family, power, love, displacement or reinvention resonate globally. The cultural packaging may differ, but the emotional spine must be universal.

At the same time, we are very careful not to flatten Indian identity for international consumption. I strongly believe that authenticity is more exportable than approximation. When Korean dramas became global hits, they did not try to become Western. They stayed Korean. The same is true for Indian stories.

Operating across India and the Middle East also opens opportunities for co-productions and cross-cultural narratives. There is a large Indian diaspora that consumes content differently from domestic audiences. Understanding those nuances allows us to position projects more strategically.

The key is balance. Be unapologetically Indian in detail, but emotionally global in scope.

5. AVS is expanding beyond films into art licensing and cultural IP. How do you see cinema intersecting with art and luxury in today's entertainment landscape?

Historically, cinema, art and luxury have always been interconnected. Film is a visual medium, and art shapes visual language. Luxury brands have long aligned themselves with cinema to build aspiration and cultural capital.

What is changing today is the sophistication of that intersection. Audiences are more aware of design, aesthetics and cultural heritage. Intellectual property is no longer confined to one medium. A character can exist as a film, a digital series, a collectible, a fashion collaboration or an immersive experience.

Through Maison Élan, our art and licensing vertical, we are exploring how cultural IP can be treated with curatorial integrity across carefully selected collaborations and premium contexts while respecting artistic legacy and authenticity.

I see the future of entertainment as multidimensional. A film is not just a two-hour experience. It can be an ecosystem. Art-inspired merchandise, immersive installations, experiential events, branded collaborations and audio adaptations can all extend the life and cultural footprint of a story.

For me, the goal is not commercialisation for its own sake. It is about building cultural assets responsibly and ensuring that art, cinema and commerce coexist with respect and long-term vision.

Stay tuned for the second part of the detailed interview on Filmibeat.