Over the years, the Love Mocktail franchise has quietly carved its own space. The third chapter, Love Mocktail 3, starring and directed by Krishna and produced by Milana Nagaraj under the KrissMi Productions banner, is set to release in theatres on March 19.

While the film continues the emotional arc of the franchise, the journey behind the scenes has also evolved with each instalment. Composer Nakul Abhyankar and cinematographer-editor Sri Crazy Mindz, both key collaborators on the Love Mocktail instalments, discuss how the film’s music, visuals, and storytelling have grown organically alongside the franchise.

Nakul Abhyankar: Becoming a father made me more sensitive

For Nakul Abhyankar, the journey with the Love Mocktail franchise has unfolded gradually, much like the story it tells on screen. The musician shares that his association with the franchise has grown into something deeply personal. “I was only a playback singer in the first part, which had music by Raghu Dixit,” Nakul recalls. Krishna brought him in as a composer for Love Mocktail 2.

“It was a risk Krishna took,” he admits candidly. “I did not have many big films under me then. But our interactions helped him understand that I could justify the franchise.” 

With Love Mocktail 3, Nakul says the biggest challenge was ensuring that the music felt fresh within a continuing story. “Love Mocktail may be a franchise in terms of story, but when it comes to music, each part has to stand on its own. It should never feel like the music comes from a different universe,” he explains. According to Nakul, the story itself unfolds like real life. “It moves from school to college, first heartbreak, relationships, and eventually adapting to being a parent. That evolution mirrors how we live our lives. You can also see how Krishna has evolved as a writer and director over the last seven years. His life and the film’s journey almost coexist.”

The composer credits Krishna and Milana Nagaraj for making the creative process collaborative. “They involve technicians deeply in the storytelling. In fact, they had written a couple of versions of the Love Mocktail 3 script, and we discussed the same with them. I am not just a composer here. There is a larger picture and team building.” Once the shoot and edit were completed, the music came together quickly. “We sat for eight to nine days and finished composing. After that, we went on to the live recordings. The creation part was fast because we were already involved in the story.”

Nakul believes the third film carries the strongest emotional core of the trilogy, something that also connected with his own life. “Krishna and I followed a similar trajectory during the third instalment. Around the same time, I was blessed with a son, and Krishna with a daughter, Pari. Becoming a father made us more sensitive.”

Sri Crazy Mindz: Love Mocktail 3 gave me a different high

For cinematographer and editor Sri Crazy Mindz, being part of the Love Mocktail franchise has been an extraordinary journey that has grown with each instalment. “The growth has been very natural,” he says. “From the first film to the third, everything has moved forward step by step. In terms of story and narration, the journey flows organically. At the same time, the production value has grown. From Love Mocktail to Love Mocktail 2 and now the third part, the budget, the art department, the camera department, everything has expanded with the franchise.”

The third instalment also pushed the film into new landscapes. “We shot in Georgia, the Andaman Islands, the Rann of Kutch, Jaisalmer, and Jodhpur. The first film was largely shot in Karnataka, the second travelled to Ladakh, and with the third, we crossed those boundaries. In Love Mocktail, locations have always had a crucial role in shaping the story.”

Working closely with Krishna across the trilogy has also allowed him to witness the filmmaker’s growth. “With the first film, Krishna was new to direction. By the second, he had gained experience from the first. With the third, I felt he was flawless. He knows exactly what he wants.”

The team also adopted a sharper shooting approach this time. “We shot the entire film with a double-camera setup, mainly because we had a child in the film. Every actor came well prepared to the set, which meant the number of shooting days came down. Every scene was precise and sharp.”

As a cinematographer, he found greater creative freedom with the third instalment. “The first film had budget constraints. The second got better. With the third, we were not restricted in terms of equipment or planning. There was freedom to work with better gear, and even the sets were carefully planned.”

Being both cinematographer and editor also helped shape the film’s rhythm. “As someone who handles both, I know what will stay and what will go. The edit is already in my mind while shooting,” he says, adding, "I don’t remember the last time I watched a film without a smoking disclaimer card. This one doesn’t have it, and I felt that was good.”

Looking back at the finished film, he says the experience was deeply satisfying. “The editing process went smoothly. Personally, I was excited to watch the final output. Love Mocktail 3 gave me a different high.”