Binaifer Kohli: 'It's the Characters, Not Actors, That Drive Shows'

Binaifer Kohli, a renowned television producer, is one of the pillars of India's entertainment industry. She has been instrumental in creating some of the most successful TV serials. One such milestone was the creation of the show Family Number One, which made history as one of the top five serials in the TV industry. Featuring the stellar performances of Kanwaljeet Singh and Tanvi Azmi, the show was famous not just for its story but also for its innovative dance sequence, which was choreographed by none other than Binaifer herself. Binaifer Kohli, along with her husband Sanjay Kohli, runs the highly successful production house Edit 2, which has produced over 32 hit TV shows including Mahi Ve, F.I.R., Bhabi Ji Ghar Par Hai, Happu Ki Ultan Paltan, Ji Ja Ji Chhat Par Hai, Family Number 1, and Shadi Number One. Over the past 32 years, Edit 2 has earned a solid reputation in the television industry for producing both social and comedy serials that have become household names.

Here’s an excerpt from an exclusive interview with Binaifer Kohli for Maya Puri:

 

You Could Have Worked With LIC, Considering Your Mother's Success. Was It an Option?

Since you’ve brought it up, let me share a little about myself. I am originally Parsi, and I married a Punjabi man, Sanjay Kohli. My father was the CEO of a multinational company, and my mother was a Gold Medalist with LIC. My siblings are highly educated too—my brother is a CA, and my sister is a triple graduate. My two children, Vihaan and Chen, are both into sculpture and illustration. But my interests have always been quite different. I was a model before stepping into the world of television. During my modeling days, I met Sanjay Kohli, who was India's number one model at the time. Though I wasn’t particularly interested in studies, I managed to come first in my class multiple times. However, my true passion always lay in the creative arts. From my school days, I was involved in theater, and I even played the role of a Japanese girl in one of the school plays. I received several awards for acting back then. I had a strong interest in writing as well. I used to win prizes in essay competitions, and I would write my own speeches for the speech contests, winning several awards for those too. Art and writing have always been close to my heart. Although I don’t paint myself, I love looking at beautiful paintings. When I reached college, I started getting offers for modeling. I did runway shows, live shows, and ad campaigns. At the age of sixteen, I was asked by the famous Bombay Dyeing distributor, Kiran Ji, if I could choreograph one of their shows. However, due to my age, it wasn’t possible at the time. It was Naresh Jain who helped me a lot and mentored me during those early years. Later, I did choreography for several prestigious brands, including Bombay Dyeing, Mafatlal, IWS, Porsche, Estée Lauder, and others, both in India and internationally. I also choreographed live shows.

Meanwhile, Sanjay Ji, India's top model, was also working on several major projects. He did campaigns for brands like Pepsi, Tefco, and Textiles, among others. When we met, we decided to open our own advertising agency. We were responsible for the live launch of Zee TV, and we also worked on many international shows. I have always loved staying connected to creativity.

How did You Transition from Running an Ad Agency to Producing TV Serials?

Our advertising agency was doing really well. However, we received an offer from a channel to create a serial, and soon after, we started getting so many serial production offers that we had to shut down our ad agency. Our first project was Hai Zindagi Bye Zindagi for Zee TV, which also featured the legendary Jaspal Bhatti. After that, we created Family Number One for Sony TV, which went on to become one of the top five serials in the TV industry. The reason for its success was our creativity. We enjoyed being creative and were constantly looking to try new things.

Comedy is Sanjay Ji's area of expertise. People call him the "King of Comedy." After Family Number One, there was no looking back. We went on to produce shows for multiple channels, including Mahi Ve, Nilanjana, F.I.R., Bhabi Ji Ghar Par Hai, Happu Ki Ultan Paltan, Ji Ja Ji Chhat Par Hai, Family Number 1, Main I Come in Madam, and Shaadi Number One. Over time, we've produced more than 32 social and comedy serials. We were deeply involved in every aspect of production—from writing the scripts to casting the actors. It was a highly creative process, and we took great pride in it. It gave us immense satisfaction. As the work increased, we started bringing in more creative people to join us. We’ve mentored and worked with art directors, cameramen, and directors. I have always considered each of our serials like a child. I still do. We used to think, “What should we name this character? What costume should we give them?" We set certain guidelines for ourselves. For instance, we never made an episode about bomb blasts. Many people have been hurt by such incidents, and we never wanted to remind anyone of that pain. Our goal is to put a smile on people’s faces. We also avoid body shaming in our shows, always focusing on humor and light-hearted content.

 I’m someone who attends every award ceremony to collect my awards, but Sanjay Ji doesn't like to attend any functions other than ITA Awards. He doesn’t even like getting his photo taken. He prefers staying busy with work, focusing on doing limited yet high-quality work. While I too want to produce good work, I believe in working 18-hour days. I love working hard and am very passionate about it. Out of the ten most popular and successful comedy serials on TV, six of them are ours. Our company, Edit 2, produced F.I.R., which ran for ten years, and Bhabi Ji Ghar Par Hai, which has also been on air for ten years. Happu Ki Ultan Paltan is in its fifth year. Main I Come in Madam has already aired three seasons, and Ji Ja Ji Chhat Par Hai has aired two seasons. Family Number One is still counted as one of the top five serials.

We’ve also created many social serials that have won awards. I’m known for my expertise in writing social serials, while Sanjay Ji is a master of comedy. He works with his team to create some of the best comedy serials on television.

 

You Have Done Quite a Few Creative Experiments, Haven’t You?

That’s just my nature. I can’t sit still. Family Number One became one of the top five-rated serials in India. The concept for the show was initially created by Sanjay Kohli, and then the writers took over. It was the first serial where we choreographed an original title song. Before that, title songs were usually created using clips. I remember I choreographed the song in two parts: one with a vibrant blue and green look and the other in classic black and white formal colors. We even used a massive fan during the shoot. The praise and feedback we received for the title song made all our efforts worthwhile. The lead actors—Kanwaljeet Singh, Tanvi Azmi, and the children—did a fantastic job. After Family Number One, people started realizing the importance of packaging, and now every serial has a dedicated team to create the title song. In every way, Family Number One holds a very special place in my heart.

I replicated the same approach in my next serial, Masti. Gradually, other producers started imitating our method, creating separate shoots for title songs, and now an entire unit is called in to shoot the title and promos for serials.

You’ve Produced Over 32 Serials So Far. What Message Did Each of These Serials Convey?

In every serial, we try to combine entertainment with a message. Our aim is that while viewers are entertained, they also gain some inspiration. We’ve frequently addressed the message of cleanliness in our shows. We’ve also raised the question of why we recognize and prioritize diseases like jaundice, chikungunya, etc., but neglect mental health. Before the advent of mobile phones, when we used to travel from Andheri to Churchgate in a car, we saw different people, different incidents around us, and our minds would wander in various directions. But with mobile phones, we have no idea what’s happening around us anymore. We are all engrossed in our phones. This has led to an increase in mental health issues, which no one seems to be paying attention to. Nowadays, people even talk on the phone while walking, which often leads to accidents. I’ve been through an accident myself while talking on the phone. Social media is very addictive; I’m genuinely scared of technology and social media.

 

We created Lajja for Sony TV, which was about a woman’s fight. She eventually triumphs over powerful people. In Zara, two sisters marry the same man, which was based on a real-life incident. One sister helps the other and gets caught in the same situation. Hamari Beti Raj Karegi was about the transformation of a rebellious girl into a better person.

Family Number One is an iconic serial for us, depicting the lives of two married families living under the same roof. The story revolves around the challenges they face, how parents solve their children's problems, and how parents' lives are affected by their children’s issues. It also shows how the children, despite their differences, come together, and their bonds are never broken.

 

In Mahi Ve, we showed old Punjab, with characters played by Rita Bhaduri and Kulbhushan Kharbanda. It highlighted the family struggles and conservative mindset of that era. The message was clear: no matter the differences, your country and your people are your own.

In F.I.R., we portrayed the story of Chandramukhi Chautala, a female police inspector who solves cases with her wit and determination. In Jijaji Chhat Par Hai and 'Jija ji Chhat Pe Koi Hai', the story focuses on the idea that when there’s love, money doesn’t matter.

In Bhabiji Ghar Par Hai, there’s an innocent love story between two couples, where the women are respected and the two friends are also rivals. We’ve addressed themes like Swachh Bharat and elections in the show.

In Happu Ki Ultan Paltan, Hapu is a police officer, and his daughter becomes his boss. It’s a funny portrayal of how the father-daughter dynamic changes when the daughter starts running the show at the police station. At home, the father struggles with how to deal with his daughter, and there are hilarious situations that arise from this power shift.

Dhak Dhak in Dubai was filmed in Dubai, where a Punjabi and Gujarati family, who initially hate each other, eventually fall in love. Nilanjana was a realistic story filmed in Punjab. Directed by Sukhwant Dhadha, it was a story that I co-wrote with Sachin, a seasoned writer known for his work on films like Anand, Taal, and Kaho Na Pyar Hai. In Yeh Hai Mere Apne, the story revolves around how a grandfather raises his younger grandchildren. We’ve also created numerous comedy serials like Main I Coming Madam, each of which, while making people laugh, also imparts a valuable lesson. Shaadi Number One showcased the lives of different couples. It told the story of a woman who runs marriage counseling classes, constantly advising others on how to make their marriages work, but her own marriage is falling apart.

What About Nilanjana?

Yes! Nilanjana was on Peter and Indrani Mukherjee's channel INOX, but that channel shut down. My writer, Kamlesh Kunti Singh, asked me if we could take it to another channel. I gave him permission, and he took it to Zee TV, where the show was broadcast as Agle Janam Mohe Bitiya Hi Kijo. It became quite popular.

Many Artists Have Worked With You for a Long Time, Haven't They?

Yes! Shivangi has been working with us for eight years, and she has been doing a fantastic job. I cannot praise Asif Sheikh and Rohitashv Gaur enough. I believe that Bhabi Ji Ghar Par Hai has truly been blessed by God. We had invited Yogesh Tripathi for just one episode, but he has been with us ever since. His performance was outstanding, and even though he spoke with a Bundeli accent, the entire series took off from there and has been running for the past five years.

Himani Shivpuri Ji is also part of the show. Then we have Sumit Arora from Chidiya Ghar—he's a superb actor. We might not be making a grand show like Mughal-e-Azam, but we’re definitely keeping the show running with good vibes. In a comedy serial, it’s important for all the actors to have great bonding with each other. Asif Sheikh and Rohitashv Gaur share an incredible bond, which shows in their performances.

In Jijaji Chhat Par Hai, Heeba Nawab was part of the show. She’s like a daughter to me. Actors who come from the world of theater are incredibly disciplined. They don’t take long to get into character. In Bhabi Ji Ghar Par Hai, Asif Sheikh has played multiple roles—joker, woman, European woman, tailor, kabaddi player, and many others—he’s done 360-degree characters. Every time, he changes his tone and mannerisms to suit the role. In reality, Angoori is a bit naive, so it’s easier to make her look foolish, which is why Asif keeps playing these different roles and making Angoori appear naive. On the other hand, it’s not as easy to make Gori Ma’am look foolish!

We’ve Heard That Many Technicians Have Been Working With You for a Long Time?

Yes! All my technicians are very close to my heart. Many of them have been with me for 20 to 30 years. I’ve been working in the TV industry for 32 years. Our cameraman Raja Dada has been with us from the very first serial, which means he has been with us for 32 years, ever since Zee TV started. My director Shashank Bali worked as an assistant director on our Star Plus serial Shaadi Number One. Later, we made him the director of F.I.R.. Shashank Bali was an assistant to the famous comedy director Rajan Vaghdhare. Sameer Kulkarni, who also worked as an assistant to Rajan Vaghdhare, directed Family Number One. After F.I.R., Shashank Bali has practically become Sanjay Ji's younger brother. He directs all our serials now. Now, Shashank's assistant Harshada also directs some of our serials.

 

Raghubir Shekhawat, who came from Jaipur, used to stay in my office when he first joined. He wrote Family Number One for us, and at that time, he was very young and cute. Now, for the past five years, he has been writing Happu Ki Ultan Paltan. Then Manohar Shantoshi Ji joined us. I haven’t seen a comedy writer like Manohar Shantoshi in the TV industry. He’s like a child in our entire team—very innocent. He also often gets sick and is very emotional. Compared to Sanjay Ji, I am a little strict, but any technician can call me even at 1 a.m., and I immediately go to them, because they are my "working family."

 

I must talk about my art director, Arup. When I went to look for locations for Family Number One, I saw him working as an assistant at Sankit Bangla, where he was setting up kites and things. I liked the way he spoke. I took his number and promised him I would make him the art director of my next serial. I invited him for my new serial, guided him a little, and made him the art director. My background in advertising helped with this decision. Now, he’s a very senior art director. Shashank's assistant Ritvik is now directing Happu Ki Ultan Paltan. Raja Dada’s assistant is now the cameraman for Me Aai Coming Madam. All my technicians are amazing. Occasionally, a few people might not turn out to be the best, and some say that "one bad fish spoils the whole pond," but my experience says that if the pond is good, the bad fish gets isolated. In the beginning, people may get influenced by the bad fish, but soon they realize the truth and distance themselves from it.

 

My artists have also been working with me for the past 17 years. I often repeat my artists from one serial to another because comedy is not easy. All my artists have impeccable comic timing.

How Did You Manage Your Entire Team and Artists During the COVID Period?

During COVID, all our artists were extremely cooperative and continued shooting without any breaks. As a result, we didn’t have to repeat a single episode. Throughout the pandemic, I reached out to many of our artists and technicians, offering them help. However, many of them were so kind that they didn’t need any assistance. Most of them told me, "Everything is being managed for now. If we need help later, we’ll ask."

 

Aniruddh Pathak, who hadn’t worked with me before, got COVID during that time. We had to evacuate him from a web series set, but even then, he didn’t ask for any help from me. During the COVID period, a junior artist supplier reached out to Sanjay Ji, offering to make any necessary adjustments. Sanjay Ji told him, "During such a difficult time, we will make adjustments if needed, but no junior artist should worry about making adjustments."

 

Sowmya Tandon, Shubhangi, and all the other artists continued to come to the set and shoot during COVID. Sowmya Tandon had a small child and her elderly mother at home. She told me that I could replace her with another artist, but I stayed in touch with her for a long time. I am very particular when it comes to changing an artist for a character. After a long time, Neha replaced her, and then Vidisha took over the role. Similarly, Shivangi replaced Shilpa's role. Shivangi has been working excellently with us for eight years.

 

During the COVID period, we created a "bubble" on the set, which meant everyone had to stay on set. We had food made for everyone on set, and we also had to be mindful of everyone’s COVID test results to ensure safety.

 

What is Your Favorite Serial?

 

Bhabi Ji Ghar Par Hai is my favorite serial. Every character in it is humorous, and there’s a family-oriented atmosphere. One character is innocent, while another is smart. Angoori’s dialogues have become iconic, they are like catchphrases now.

 

What Kind of Reactions Do People Give After Watching Your Comedy Serials?

 

I don’t want to take the name of a particular hospital, but one hospital recommends our serial to every patient. One day, Joy Mukherjee’s wife came to my house with a plate, decorated with a Ganesh idol and lamps. I didn’t even recognize her at first. She told me, "I was ill in the hospital, and the doctors were giving me injections, which caused blisters in my mouth. I didn’t even want to take the medicine. Seeing my condition, the doctor turned on the TV and started our serial, Bhabi Ji Ghar Par Hai. He told me to watch this serial. I watched it for the entire time I was in the hospital, day and night. Some people even told me that in their offices, this serial is playing too. We even show this serial to cancer patients. You might not believe this, but the actors of Bhabi Ji Ghar Par Hai send messages to cancer patients, telling them to get better soon so that they can come visit us on set."

 

Many people have come to visit us on the set. Unlike other shows, we don’t charge anyone for visiting. We invite everyone during lunch time and offer them free food with the cast. After visiting the set, people often tell us that they bring happiness to everyone’s faces. People believe that watching our serial brings them peace, relieves their stress, and makes them happy. Our actors send personalized messages to sick people, telling them to get well soon and then come visit us on the set.

 

TV Female Characters Look Quite Different. In Ekta Kapoor's Serials, Women Characters Are Often Shown Engaged in Kitchen Politics. What’s Your Take on Female Characters in Your Serials?

 In Ekta Kapoor's serials, you see both modern and traditional female characters. In our serials, Gori Ma’am is modern, so we dress her in Western outfits. But she also wears sarees. Angoori is innocent and domestic, so her outfits reflect that. However, Angoori Bhabi's ghagras and cholis are very beautiful, with some modern designs too.

 See, our goal is to make people laugh. All of our characters are regular people. We don’t deal with crores of rupees in our serials. Angoori Bhabi’s jewelry consists of traditional Indian earrings, while Gori Ma’am’s jewelry is Western. We also dressed Heeba Nawab (in JiJa Ji Chhat Pe Hai) in salwar kameez with a dupatta.

 In our serial Bhabi Ji Ghar Par Hai or even in Rajan Shahi's Anupama, women are portrayed positively. Even ordinary women like Angoori Bhabi and Anupama are encouraged by the men in their lives to start something on their own. Bhabi Ji always tries to do different things, whether it’s dancing or acting, and she is always supported in her endeavors.

 Himani Shivpuri Ji has been working with us for quite a while. She worked with us on Hum Aapke Hain Kaun. Himani Ji is very cute, both in the way she talks and when she gets angry.

 

In the Initial Stages, After Some Success, Did You Go Through a Period of Setbacks? What Did You Learn From That?

 You are absolutely right. There were one or two very big mistakes made. But later, I realized that we were right and the others were wrong. That’s when I got angry, asking myself why this always happens to us. We never mistreat anyone, we never wrong anyone. We don’t even keep a single rupee from anyone.

 Then one day, Sanjay Ji told me, "Benifer, don't wish ill for anyone. They are holding all the poison, which will turn into good for us." Sanjay Ji’s mother is a Sikh, and he is a very emotional and simple person. When Sanjay Ji said this to me, I realized the great truth he had shared. We should never think badly of others but always wish for our own good. We don’t have the right to punish anyone. Sanjay Ji never holds any ill feelings towards anyone.

 I don’t take revenge, but I can never forget someone’s wrong actions. Once, I caught one of my accountants, but later Sanjay Ji called me and said that he had admitted his mistake and was crying. So, I rehired him. Now, I don't question Sanjay Ji’s decisions. I respect him as my boss. I believe that there is only one boss in the office, and that is Sanjay Ji. But I don’t believe in forgiveness. That accountant worked well for five years, but after five years, he betrayed me. What can I say?

 If any producer tells me that a person has troubled them, I distance myself from that person. If they’ve troubled my friend, then they can trouble me too. Technicians never trouble the producer; it’s the actors who create problems for the producer and director. Every actor should understand that the real hero is the script and the scriptwriter. My writers are completely fair, but it's always a team effort. An actor or a scriptwriter alone can’t make a great show or film. It’s only when both work together that a successful serial or film is made.

When a serial hits big, the actor thinks that they are the face of the show and cannot be replaced. That’s when they triple their fee. This is not the right approach. Rajan Sahi did a great job by replacing an actor immediately and bringing in someone else for the same role. Interestingly, the TRP of the serial didn’t drop. We also took the same step in two of our serials, and after replacing the actor, the TRP actually increased.

Now, when people say, "Bhabi Ji Ghar Par Hai is running because of Bhabi Ji," that’s not true. The success of a serial involves equal contributions from the writer, director, and all the actors. If the channel hadn’t picked up the show for airing on &TV, maybe the serial would have stayed at my house. It was the channel that took the show to their platform, and their audience helped increase its popularity. I told the channel, "Look, I’ve brought in good viewers," but we can never forget that the channel gave us the opportunity to make good content. The channel and we are one family.

Did Some People Cause You a Lot of Hurt?

Yes, there was a time when we were making several serials at once, and during that time, one of our accountants absconded with a large sum of money. Despite that, we made sure to pay everyone on time.

You Worked with Actor Deepesh Bhan, Who Tragically Passed Away. You and Your Team Helped His Family. Could You Share More About This?

Yes! Deepesh Bhan was playing cricket in front of his house when he suddenly collapsed. His friends picked him up, and it was discovered that he had suffered a brain hemorrhage. The hospital was only four minutes away from his house, but unfortunately, he couldn’t be saved. He was such a good person that I always thought, "I wish my children could grow up to be like him." He was truly an angel sent by God.

 At the time of his death, Deepesh had taken out a loan of 40 lakhs for his house, and he had also purchased a car and other things on credit. After his passing, all the people in our unit came together to pay off his entire debt. Soumya Tandon even started a crowdfunding campaign on Ketto to help his family. His wife is very young, and they have a small child. Everyone helped in any way they could. Our office also contributed.

 We are all happy that Deepesh’s wife is now living in a debt-free house. All our actors and technicians gave their contributions without being asked. That’s why I always refer to my set as a 'working family.'

Who Are Your Closest Friends in the TV Industry?

In the TV industry, my closest friends are the outstanding writers and directors. For example, Sukhwant Dhadha Ji, Lekh Tandon Ji, Braj Katyal Ji, Raj Kumar Bedi, Rajan Vagdhare, and others… Raj Kumar Bedi was one of my dearest friends. I have learned a lot from all of them. Rajan Vagdhare is a pillar of the TV industry. He’s a very good-hearted person. He directed many successful serials, including Yes Boss, Shriman Shrimati, and others. I have a lot of respect for him. Sanjay Kohli Ji is a master of comedy. I can confidently say that no one is as skilled as him in comedy. He and his team work together like a family, and they make episode after episode with joy and laughter. It’s not easy to create a different episode for ten consecutive years. From my experience, I can say that four episodes of a social or drama serial are equal to one episode of a comedy serial. In a social or drama serial, we can create a bit of suspense, show a character’s feet slowly moving forward, and then reveal their face. Other characters look around, and the scene develops. But if we follow the same approach in a comedy serial, people will stop watching because they’re not laughing. In comedy, there needs to be a laugh every ten seconds, a punchline must hit. But that doesn’t mean creating social or drama serials is easy. These serials compete with movies. Every few weeks, there’s a new release from Kareena Kapoor, Katrina Kaif, Deepika Padukone, Shahrukh Khan, or Salman Khan. Even then, we have to keep our viewers engaged. All our serials are a lot of fun.

How Do You See the Changes in the TV Industry Over the Past 32 Years?

When we first got into TV, Sony TV had taken us to the US, and there we saw that lights, cameras, everything was powered by electronics. Each episode of a serial in the US cost crores of rupees, while here each episode would be made for just a few lakhs. If there was no dolly during the shoot, they’d put a plank beneath and have two people push from the back. That’s how we used to shoot. The poor light man was walking up and down. But over the past 32 years, the TV industry has seen changes. Now we have much better equipment, but the fundamental changes are not many. What has changed is the perspective of the writers. Women are the heroes on TV, whereas men are the heroes in movies. But in Bhabi Ji Ghar Par Hai, all the characters are equal – both the hero and heroine have equal roles. The sets of serials have gotten bigger and more realistic. There’s been a change in the presentation of serials. Now, we have to compete with movies. In films, actors like Jeetendra were shown going to college with books in hand, because he was an iconic hero. But in serials, we can’t show an older hero like that. Jeetendra even acted in my serial, and he’s a superb actor. Nowadays, the channels are paying more per episode. But earlier, the best part was that all the rights of our serials used to stay with us, whereas now the rights to everything—the serial, characters, subjects—are with the channel. We just make the serials and hand them over. But that’s okay. No one is forcing anyone to do anything. If someone wants to work under these terms, they can, and if they don’t, they don’t have to.

How Do You See the Changes in the TV Industry Over the Last 32 Years?

When we first got into TV, Sony TV took a group of producers to the U.S. to show us how things were done there. We saw that everything—lights, cameras, and equipment—was all run electronically. Each episode of their serials cost crores of rupees, while here, we were making episodes for just a few lakh rupees. I remember the early days of shooting when we didn't have proper platforms or equipment. If the dolly didn’t work, we'd just tie a rope to it and have two people push it from behind. Meanwhile, the light man was running around trying to fix things. That was our reality back then.

But over the past 32 years, a lot has changed. We now have access to much better equipment, and the quality of the shows has greatly improved. However, there hasn't been a massive transformation in terms of basic structure. One significant change that I’ve noticed is how writers' perspectives have evolved. Today, women in TV shows are the heroes, whereas in films, men are typically the central heroes. But in shows like "Bhabiji Ghar Par Hain!", the roles of both the hero and heroine are treated equally.

Another notable change is the size and realism of the sets. Earlier, sets were much smaller and less elaborate. Now, the presentation of TV shows is much more sophisticated and realistic. Additionally, we're in direct competition with films now. In movies, a hero like Jeetendra could carry a book to college and still look iconic because of his stardom. But we can't show a mature actor in such a role on TV. Jeetendra, who acted in one of my serials, is an outstanding actor, and we were lucky to have him.

Back then, the channels would give us more creative freedom, and we owned the rights to our serials. Now, the channels own all the rights to the shows, the characters, and the subjects. We just create the content and hand it over. There are positives and negatives to this change. While it's beneficial for the channels in terms of managing content across platforms, it does put the creators at a disadvantage. We're paid a lump sum for our work, but we no longer get ongoing royalties like songwriters or music composers do in the film industry.

 

But Doesn’t the Shift in Rights to the Channel Put Creatives at a Disadvantage?

I won’t deny that this shift has its downsides. Creatives now receive a one-time payment, and the channel has full control over the rights of the show, using them in various ways. In contrast, when a song plays on the radio or in a film, the lyricists and musicians receive royalties every time it's aired. This doesn’t happen with TV shows. If a serial fails, both the channel and the producer suffer losses, but ultimately, the system has become such that no one is forcing the producers to accept these terms. If a creator doesn’t agree, they can choose not to work with a channel.

That said, the reality is that channels and producers are working in harmony with the terms laid out. It’s a well-defined industry standard. There are times when creative people like us feel frustrated, especially when our concepts get stolen or copied. For instance, I’ve had situations where a concept I developed, like one set in a Marwari background, was taken by someone else and used in the same context without credit. It's disheartening.

But, instead of resorting to stealing or copying, I believe that as creatives, we can collaborate on joint ventures and create something fresh together. If it were up to me, I’d happily sit in my office, brainstorming and developing new concepts day after day.

A Major Change in TV Industry: The Omission of Actor Credits at the Beginning of Serial Shows

One of the biggest changes in the television industry has been the shift from showing title songs and actor credits at the beginning of serials to no longer displaying these credits during the opening. This change, while subtle, has raised questions about its fairness and impact on the industry.

This change was implemented to solve a major problem. Earlier, when a serial would finish, the names of the technicians would appear first, followed by the names of the actors. During this time, viewers would often switch channels, which led to a drop in viewership for the show. To keep the audience engaged and prevent them from flipping the channel, this shift was made.

Research showed that when credits and the title song were shown during the opening, audiences tended to lose interest or change the channel before the show even began. By removing the credits from the beginning and placing them later in the show, producers were able to hold the audience's attention. This was a strategic move to retain viewership throughout the episode.

As a producer, our primary goal is to make sure that our show attracts as many viewers as possible. The more viewers a show has, the more advertising revenue it generates, which benefits both the producer and the channel. Therefore, this change, although controversial to some, has ultimately worked in everyone’s favor — both the viewers and the people involved in the production.

  

Have You Thought About Creating Films or Web Series for OTT?

We have so much work on TV that we haven’t really thought about venturing into the OTT space. Despite having two very popular shows on 'And TV,' we never considered entering platforms like 'Zee5.' However, now my son, Vihaan, who has returned from the US after completing his training in film production and acting, is working with Sanjay Ji on some OTT projects and films. We’re now planning to work on several web series and films for OTT platforms.

You’ve said that there should be only one 'boss' in the office. But doesn’t having a boss in a creative field stifle creativity?

Yes, in a creative field, there shouldn’t be a traditional boss. But as I mentioned, in our case, Sanjay Ji is the boss. There are reasons for that. I’m not great at comedy, but Sanjay Ji and his team handle comedy serials, while I have a better understanding of social dramas, so I handle those. I manage all the contracts, while he selects the technical team. We’ve divided our responsibilities based on our strengths, and when needed, we consult each other. We point out each other’s mistakes as well. But when Sanjay Ji explains what’s really right, I accept it without hesitation. We don’t have arguments or conflicts. But when it comes to managing the office, there needs to be one boss, and in our case, that’s Sanjay Ji.

Having Produced Over 32 Shows in 32 Years, Which Award or Show Motivated You the Most?

Every award we’ve won has motivated me to keep improving and creating exceptional content on new topics. Each award has made me more responsible and driven to continue pushing boundaries. The most awards we’ve received have been for our show "Bhabiji Ghar Par Hai."

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