Vatsal Bucha: Certain Ideas Simply Refuse to Leave My Head [Creator The Bhoot Club, Pro Animator, 36k Followers, India]

Vatsal Bucha Interview

 

Vatsal Bucha is a filmmaker, animator, writer, and director best known as the creator of Bhoot Club. Through his work, he explores contemporary Indian life through animation, blending mystery, humor, and everyday experiences into stories rooted in local culture and universal emotion.

Q. Anime and animation are still growing industries in India. How did you get into this field?

I've always been drawn to storytelling. It's where my mind naturally goes for comfort. I'm also an overthinker, and storytelling became a way to process those thoughts and channel them into something creative.

Growing up, I moved around frequently, and being the new kid often made it difficult to find my footing. In fourth grade, I met a classmate who drew comics, and that completely fascinated me. That was my gateway into storytelling.

I started creating comics based on things I already loved—Dragon Ball Z and characters from Flash games I used to play. Eventually, I began developing my own characters and stories, and it grew from there.

I was also inspired by indie creators. Projects like Eddsworld, independent online animations, and student graduation films showed me that animation wasn't reserved for large studios with hundreds of people. Sometimes, it's simply one person at home with a story they want to tell. That idea was incredibly exciting to me.

As I grew older, I experimented with different mediums, including writing, comics, and live-action filmmaking. But animation always felt like the most complete form of storytelling. It combines the visual freedom of comics, the emotional depth of writing, and the cinematic possibilities of film. You can build entire worlds and tell stories that would be difficult—or impossible—to create elsewhere.

Attending NID was another major turning point. It gave me a community of people who were equally passionate about storytelling and animation, helping me grow and eventually turn a lifelong passion into a career.

Q. How do you think AI is impacting artists and animators today?

For me, AI has never made sense as a replacement for art because art and animation are as much about the process as they are about the final result.

When I create something—whether it's a comic, a film, or an animated episode—a significant part of the value comes from figuring things out along the way. I rarely know exactly where a story will end when I begin. Characters evolve, dialogue changes, and sometimes mistakes lead to better ideas. That exploration is where much of the magic happens.

The craft and the substance of animation are deeply intertwined. The way an animator performs a scene, the way an artist draws a line, the rhythm of dialogue, and the imperfections that come from human creation all become part of the final work.

For me, storytelling has always been a way of processing life. It's how I make sense of experiences, emotions, and ideas. AI can generate an output, but it cannot replicate that personal journey of discovery that happens during the act of creation.

That's why I believe the best work comes from people—their experiences, obsessions, mistakes, quirks, and unique perspectives. At its core, art is one human being expressing their humanity to another.

AI will undoubtedly influence the industry, and we're already seeing that happen. Interestingly, I think the more automated creative work becomes, the more audiences will value art that feels personal and human. People don't just connect with the work; they connect with the person behind it.

In a world where content can be generated endlessly, individual perspective becomes even more valuable. Without the artist, there is no art.

Q. How do you see the future of animation and anime in India, particularly short-form content?

I think anime has already moved beyond being niche in India.

Recently, I saw manga being sold at a local vegetable market. A few years ago, that would have seemed unimaginable. You also see platforms like Crunchyroll advertising everywhere. Those may seem like small indicators, but together they reflect how mainstream anime has become.

What excites me even more is the future of homegrown Indian animation. Audiences increasingly want stories that feel local and authentic. They want characters who sound familiar, settings they recognize, and experiences that reflect their own realities.

We're already seeing that shift. Independent creators are experimenting with new styles, formats, and stories that feel distinctly Indian without trying to imitate anyone else.

Short-form content plays a major role in that evolution. Animation is resource-intensive, and short-form formats give creators the freedom to experiment, build audiences, and develop their voices without needing the backing of a major studio.

I don't think everyone wants to create short-form content forever, but it's an incredibly effective starting point. Many creators building audiences today through shorts, web series, comics, and online storytelling will eventually move on to larger films, series, and franchises.

What excites me most is the rise of original Indian intellectual property. Not just in animation, but across comics, gaming, film, and digital media. We're moving toward an ecosystem where creators build their own worlds, connect directly with audiences online, and expand those stories across multiple platforms.

For years, we looked at successful global franchises and wondered why India didn't have more of its own. I think we're finally entering an era where creators are building those worlds themselves.

Q. With Bhoot Club, you're writing, directing, and animating the show. How do you balance all those roles?

It's definitely a time-intensive process, but I genuinely enjoy every part of it.

Writing and directing are probably my favorite stages because that's where the story, characters, humor, and overall vision come together. What helps is that I don't view writing, directing, and animating as entirely separate disciplines. When I'm writing, I'm already visualizing shots, performances, and scene construction.

By the time I begin animating, many of those creative decisions have already been made.

Ironically, animation is often the most relaxing part for me. I can put on a movie or podcast in the background and settle into the rhythm of bringing scenes to life. It's still demanding work, but it feels less mentally taxing than staring at a blank page and building a story from scratch.

That said, Bhoot Club would not exist without collaboration. The latest episode involved around nine people contributing in different capacities. Learning to delegate, seek help, and collaborate effectively has been essential.

Feedback is equally important. When you've been working on a project for months, it's easy to lose perspective. Having trusted collaborators challenge ideas, test jokes, and offer fresh viewpoints keeps the work grounded and significantly improves the final product.

Q. What inspires your projects, and how do you decide what audiences will connect with?

Honestly, I don't think I know what audiences will connect with.

My approach is usually to create something I would genuinely be excited to watch. Whether it's zombies in India, aliens selling momos, or three kids solving supernatural mysteries, every project starts with an idea that sparks my curiosity.

Interestingly, I think the more specific a story is, the more universal it can become. Rather than trying to appeal to everyone, I focus on making something that feels honest and authentic to me. That's often what audiences connect with most.

Most of my inspiration comes from real life. Even when stories become fantastical, they're usually rooted in personal experiences and emotions.

Before Bhoot Club, I was developing a film called Hari Chutney Lal Chutney about a family moving homes. On the surface, it's a simple story, but underneath it's about how different people respond to change. Much of that emotional foundation came from my own experience of moving frequently while growing up.

I've noticed that certain ideas simply refuse to leave my head. Sometimes a concept stays with me for months—or even years—until I eventually have to make it.

Many details come directly from everyday life: places I've lived, conversations I've had, food I've shared with friends, and moments I've observed. Those experiences naturally find their way into my stories.

Even the characters often draw inspiration from real people. Bhoot Club's Lav and Sweety, for example, are heavily influenced by friends of mine, while Samay contains pieces of people I've met—and perhaps a few parts of myself as well.

Q. In a world driven by algorithms, what keeps you motivated through such a long creative process?

Animation is an inherently slow medium. A two-minute episode can take months to complete.

For me, the greatest motivation is seeing the final piece come to life. There is a moment when all the separate elements—the writing, voice performances, animation, editing, and sound—suddenly come together and become a real episode.

That remains my favorite part of the process.

I also genuinely enjoy solving creative problems. One day I'm refining a joke, the next I'm working on pacing, and the day after that I'm figuring out how to make a particular shot work. With so many moving parts, there's always a new challenge to engage with.

Of course, audience support matters too. Knowing people are waiting for the next episode, sharing it with friends, or connecting with the characters is incredibly motivating.

But ultimately, there's something uniquely satisfying about watching an idea that existed only in your imagination become a finished piece of work. That feeling never gets old—and it's what keeps me coming back.

Bio

Vatsal Bucha is a filmmaker, animator, writer, and director, and the creator of Bhoot Club. Interested in telling stories about contemporary India through animation, his work often blends mystery, humour, and everyday Indian experiences within distinctly local settings.

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Interviewed By Ashima Choudhary