Puneet Krishna, the creative mind behind the hugely popular Mirzapur franchise, has opened up about his personal relationship with violence on screen, his admiration for filmmakers who portray it creatively, and his memorable early experience working with acclaimed director Rajkumar Hirani. Known for creating gripping stories filled with crime, power struggles and intense characters, Puneet revealed that his appreciation for cinematic violence is very different from his attitude towards it in real life. He also fondly recalled how Hirani welcomed him into the film industry when he was just starting his career.
The world of Mirzapur is packed with brutal confrontations, shocking moments and violent power struggles, elements that have become part of the show's identity. However, when asked whether he personally enjoys violence in his everyday life, Puneet made it clear that the answer is no. “No, I don’t like violence at all. I’m certainly not a violent person in my personal life. However, when it comes to the screen, if violence is depicted creatively, I find it highly entertaining,” he explained. For Puneet, the appeal lies not in violence itself but in how filmmakers use their craft, visual style and storytelling to present it in a compelling way.
Explaining his cinematic preferences, Puneet named internationally acclaimed filmmaker Quentin Tarantino as one of the directors whose work he particularly enjoys. He also highlighted the distinctive way violence has been presented in Indian cinema. “That’s why I really enjoy Quentin Tarantino’s films. Even in our own cinema, if you look at the action films of Yash Chopra, he used to shoot violence in a very distinct way—it was always a pleasure to watch,” he said. He went on to mention Dhurandhar, praising its unique visual treatment of violence. According to Puneet, the way a scene is constructed and captured can make all the difference between ordinary action and a memorable cinematic experience.
His admiration extends to Korean cinema, which he believes has developed a remarkable approach to depicting violence on screen. “I appreciate it when violence is captured creatively on screen; that’s also why I’m a big fan of Korean cinema—the way they handle violence is remarkable,” he said. He added that this appreciation may explain why violence frequently appears in the films and stories he enjoys. Referring to the work of Vishal Bhardwaj and Vidhu Vinod Chopra's Parinda, Puneet pointed to examples of Indian filmmaking in which violence forms part of a distinctive cinematic vision. “So, yes, I enjoy violence on screen, especially when it’s presented in fresh, innovative ways. Perhaps that’s why it often features in my own films,” he added. His comments offer an insight into the creative thinking behind the intense atmosphere that audiences associate with Mirzapur.
Puneet also looked back at an important chapter in his early career: his experience working with celebrated filmmaker Rajkumar Hirani. Before establishing himself as a screenwriter and creator, Puneet worked as an assistant director, and his association with Hirani gave him valuable exposure to the filmmaking process. Recalling their first interaction, he said, “It was wonderful. He is an absolutely remarkable person. By the time I went to meet him, he had already made two Munna Bhai films. He was a major director then—and he remains one today—yet he still made time for me.” Puneet explained that he had contacted Hirani through a cold call, despite having no prior connection with him. “I had reached out via a ‘cold call’—we had no prior acquaintance—but he gave me his time, sat me down, and offered me work on his projects,” he recalled.
His association with Hirani extended beyond feature films to commercial projects, where he continued learning the practical aspects of filmmaking. Puneet also worked on the trailer shoot during pre-production for the Munna Bhai instalment set in America, an experience he remembers as his first time on a film set. “I served as his assistant director (AD). Beyond his feature films, he also directed commercials, and I worked on those as an assistant as well. Later, during the pre-production phase for the Munna Bhai instalment set in America, I worked on the trailer shoot; that was my very first experience on a film set—a truly wonderful one,” he said. Reflecting on the filmmaker's generosity, Puneet concluded, “He is a genuinely good human being.”
From appreciating Tarantino's bold filmmaking style to learning the ropes under Rajkumar Hirani, Puneet Krishna's experiences reveal the influences that have shaped his creative outlook. While his stories may explore dark and violent worlds, his comments make one distinction clear: for him, the real fascination lies in the art of filmmaking. His journey also highlights the importance of mentorship and the opportunities that can emerge when established filmmakers make time for newcomers with a genuine passion for cinema.