In a business that often runs on speed, Better Late Than Never is choosing something else entirely: intention. It’s not just a name but a nod to their journey, a wink at the wait, and a promise that what matters will eventually find its time.

Founded by two creatives who took the long road - an ad veteran Talha Bin Mohsin, who has worked for Ogilvy and McCann, a seasoned ad writer-turned-director in his 40s, and filmmaker Shayak Dady Roy, who has worked extensively on a vast number of projects but not under his own banner, came together to form their own creative voice through the production house Better Late Than Never. 

The duo launched the production house with the intent that good things don’t just come to those who wait - they come to those who are finally ready to build them.

One year in, and 48 films down, this isn’t a story about catching up. It’s about doing it on one’s terms and doing it well.

A name that doesn’t pretend 

While most production houses lean into ambition with names that scream scale or speed, this one went with honesty. “I’d been writing ads for 22 years,” said Talha. “And for ten of those, I kept thinking I should direct. I finally did it in my 40s.”

His co-founder, Shayak, had already been directing under other banners, waiting for the moment that felt right. When they finally teamed up, the name almost named itself. “It was true for both of us,” expressed Talha. “We’d waited. But we weren’t waiting anymore.”

And that’s the point. The name doesn’t mourn lost time. It celebrates what comes after.

Why now, and not earlier?

Their decision to start wasn’t triggered by a market gap or a trend forecast. 

It was personal. “I just felt like - if I don’t do this now, I never will,” shared Talha. 

There were safer options. Freelance gigs. Offers from established banners. But the urge to shape things from scratch to build something that prioritised the director’s voice won.

“We didn’t want to just talk about creative control. We wanted to practise it. To make space for it," expressed Talha. 

That clarity shows up in their working style too. The producers support, the creatives lead, and the mantra stays consistent: Saath Meh Ukhadenge (we will do it together).

12 months - 48 ad films and countless lessons

There’s no pitch from the duo about being the best in the business. What one gets instead is a grounded, clear-eyed take on what they are good at and where they are still learning.

“We’re obsessive about casting and performance. That’s non-negotiable. We may not be the flashiest, but we give everything to each film,” the duo shared.

They have also noticed a growing reputation for their music sensibilities - something they are now leaning into with more intent.

And when it comes to locations, don’t expect only South Bombay lanes and posh apartments.

Talha voiced that the treatment he wants to give his ad films should go beyond the metros and reach the target audience the brands want to connect with.

He expressed, “We’re interested in places that haven’t been overused. Think of cities like Bhopal, Lucknow and Indore. That’s where the stories are.”

One recent shoot was set in a high-end home in Bhopal, except it was filmed in Mumbai. “But we had to match that vibe. Because it changes how a viewer feels," Talha added.

If there’s one pet peeve they keep bringing 
up, it’s sameness. “Why do so many ads look like 
they were shot on the same street in Bandra?” They laugh.

Their approach is simple: even if the script isn’t theirs, they’ll make the setting feel real. “India is too rich in visual texture to keep recycling the same frames,” they voiced.
But it’s not just about visuals - it’s about truth. Talha said, “Every socio-economic class lives in every city. Rich, poor, middle-class, why do our films pretend otherwise?”

No whiplash between advertising and production

Having spent years in advertising, working with names like Piyush Pandey and Prasoon Joshi, Talha brings a deep understanding of the brief behind the brief.

Talha expressed, “Advertising teaches you to look at a problem from every side, not just as a creative, but as a business thinker. That’s been invaluable.”

It also means they speak the language of both agency and brand. “We know what it’s like on the other side of the table. That helps us build trust. It becomes a partnership, not just execution," he added.

Built by creatives, for creatives

This isn’t a top-down, founder-first setup. Better Late Than Never runs on shared energy and mutual trust. “We jam together, we bounce ideas, and then we go our way and make it happen,” explained Shayak.
There’s space to think, and just enough structure to support it.

Shayak expressed, “There are no egos here. No power plays. Just people trying to do good work.”

Still getting started, but on their terms. 

They’re the first to admit they haven’t made that film yet—the one that fully captures what they’re building toward. But they’re closer with every project.

There’s no race. No pressure to peak early. Just a quiet confidence that the best stories take time—and when the time’s right, they’ll know it.

Their debut? A campaign for the Lemonn App. Six delightfully bizarre ad films, each a mini-blockbuster of its own. Think DDLJ, Mughal-E-Azam, Sultan - all lovingly recreated with fruits in starring roles. No CGI, no cut corners. Just pure handcrafted sets, and a wild vision that somehow, gloriously, went viral.
But it wasn’t just a breakout moment. It was a mission statement in motion. For Talha and Shayak, that first campaign wasn’t about making noise - it was about making it matter. 

“We shot over two days instead of one, even though it doubled the cost,” Talha recalled. “Because if I’m going to direct something for the first time, I need to sleep at night.”

That instinct - to follow your gut, even when the budget screams is the heartbeat of their production house, Better Late Than Never.

It’s not just built on hustle. It’s built on a quiet defiance. A refusal to do work that doesn’t sit right. A refusal to compromise on ideas. And a big, bold no to the toxic stuff that tends to seep into creative industries. “No one tells us, ‘pack up, shift’s over,’” Shayak said with a grin. “We don’t rush the vision. If it needs a reshoot, we will reshoot. You can’t always explain an idea, but you can show it. And then it clicks.”

The two are equally headstrong and collaborative - a rare combo. Their partnership began years ago on an ICICI Lombard film, where they bonded over the craft. For Shayak, their dual creative abilities gave him the courage to stop freelancing and finally start something of his own.

“I didn’t want the responsibility,” Shayak said. “But I needed the right person to share it with. I already knew how Talha worked. It just felt right.”

A year in, with over 48 films under their belt, Better Late Than Never is quietly building momentum. No PR blitz, no big talk - just consistently good work, bringing in more good work. And loyal collaborators who pick them even when there’s more money on the table elsewhere.

“I have been told I’m not very production-friendly,” Shayak deadpans. “But I’m very idea-friendly. And if that means taking the long road, so be it. At least we’ll get there properly.”

Their proudest move so far? Saying no. Not to clients, but to ideas that didn’t land. “It might seem arrogant,” Talha admitted. “But really, it’s just honest. If we’re not all in, we’re not the right fit. And that’s okay.”

This mindset has shaped a culture where creativity comes first. Before profit, before scale, and even before speed. It’s why their crew keeps coming back — in an industry built on freelance churn, that says a lot. “Some of them have started families, bought homes,” Shayak shared, with pride. “We’ve grown up together.”

And maybe that’s the rarest kind of success in this business — the kind that doesn’t chase attention but earns it anyway.
Not with formulas, but with films that speak for themselves. “Everything else, money, fame, reputation, follows the work,” Talha shrugs. “If the film’s good, that’s all that matters.”

And if it’s not? Well, at least the food on set is still excellent. 

Because for Better Late Than Never, there are only two non-negotiables: a bloody good idea, and never, ever skipping lunch!

Work by the production house 

Aashirvad's Aqualife Bimla campaign 

Client speak:

Manifest reached out to brands and agencies that have closely worked with the production house, and here is what they had to say...

Ashish Khazanchi, managing partner and chief creative officer, Enormous Brands

I’ve known Talha and his work as a writer and creative director from afar for a long time. When he transitioned into filmmaking, it immediately caught my attention - because not only is he a skilled craftsman, but he also brings the sensibility of a seasoned advertising professional. He understands the market, the consumer, and the essence of a brand. So, for us, it was an easy decision - his capabilities checked all the right boxes. The film he created for us was executed at an exceptionally high production level. Despite working with a modest budget, the team brought in a lot of inventiveness, especially through their production design. It was rich in art and full of fresh elements. Both Talha and Shayak are incredibly talented - their chemistry is palpable, and their collaborative approach made the entire process a pleasure.

Deepika Bhan, president - packaged foods business, India, Tata Consumer Products

We’ve had the pleasure of working with BLTN on two campaigns (Tata Salt and Tata Sampann), and each time they’ve delivered an exceptional creative experience. Their dedication, ownership, and consistent top-tier creative output have truly elevated our brands. They approach every project with passion, high energy and an unwavering commitment to excellence with a 'never say no’ attitude. We would highly endorse them for great storytelling campaigns. 

Prajato Guha Thakurta, founder and chief creative officer, Manja

Better Late Than Never is as much new as it is new-age. While both Talha and Shayak are extremely talented as individuals, together they are a mad and magical mix of director, producer, writer, thinker, collaborator, envelope-pusher and problem-solver. And then some. Also, and I can’t emphasise this enough, the food on their set is f***ing spectacular. Go work with them. Now!

Amit Syngle, managing director and CEO, Asian Paints

BLTN brought a fresh, insightful perspective to our campaigns. Their work on our recent campaigns, including ‘Not Designed by Manish Malhotra’ and ‘Tukka nahi Tractor,’ showcase their remarkable talent for engaging audiences and delivering superior creative output. They’ve been one of our key partners in shaping the Asian Paints narrative.”