Ajaz Khan: There is very little room for slow build-up in a micro-drama

Ajaz Khan has ventured into the vertical drama space with Pathan The Killer, directed by Sajan Agarwal and produced by Kranti Shanbag. The series sees him play an intense character that combines action with emotional depth. For the actor, who was seen in the seventh season of Bigg Boss, the biggest attraction was the complexity of the character and the opportunity it offered him as a performer.

Speaking about what made him take up the project, he says, “What attracted me the most was the intensity of the character. Pathan is not just a killer; he’s a man with layers, emotions, and a strong backstory. When I heard the narration, I felt the character had a lot of scope for performance and action. I always look for roles that challenge me as an actor, and this project gave me that opportunity. That’s what made me say yes immediately.”

The role also came with its own challenges. Maintaining the emotional and psychological demands of the character throughout the shoot required constant focus. He shares, “The biggest challenge was maintaining the character’s intensity throughout the shoot. The story moves at a fast pace, and every scene carries a certain level of tension. As an actor, I had to stay mentally prepared and ensure that the audience feels the power and emotions of the character in every episode.”

The series also features several action sequences, many of which demanded physical preparation. Talking about the process, Ajaz says, “Yes, there were several action sequences that were physically demanding. I focused on fitness, strength training, and rehearsing the action choreography with the stunt team. Safety was also very important. We spent a lot of time practicing before shooting so that the action looked realistic and impactful on screen.”

Having worked across different formats, Ajaz believes vertical micro-dramas require a different approach because of their fast-paced storytelling and shorter runtime. He shares, “The biggest difference is the pace. In films and television, you usually have more time to establish a character and build relationships. In a vertical micro-drama, the storytelling is compact and fast. Every scene has to grab attention immediately. As actors, we have to be more precise with our expressions, dialogue delivery, and emotional transitions.”

Explaining how this impacts performance, he adds, “In a vertical series, every second matters because the episodes are shorter and designed for mobile viewers. As an actor, you have to deliver emotions and character development much more quickly. There is very little room for slow build-up, so your performance needs to connect with the audience instantly.”

Ajaz also believes the format has significant potential as audience viewing habits continue to evolve. He says, “I believe vertical storytelling has a very bright future in India. Today, most people consume content on their phones, and they want engaging stories that fit into their busy schedules. Vertical series offer exactly that, high-quality entertainment in a quick and accessible format. It’s a new way of storytelling, and I think audiences, especially younger viewers, are going to embrace it in a big way.”