Zarina Mehta, Creative Director, UTV

In the programming business, UTV has made a mark on Indian television in terms of catering to multi-genre needs. The organisation has brought kid’s programming and comedies to the fore and if the content creator’s plans are anything to buy, the endeavour is not just to explore genres but also to create new genres.

Over a conversation with Noor Fathima Warsia, Zarina Mehta, Creative Director, UTV, speaks about her perception of programming on Indian television and factors that lead to successful content.

Q. Which show is the closest to your heart – of all the ones you have managed till now?

Oh! that's impossible to answer. I really love them all. My first show was The Mathemagic Show, which I created, wrote and directed. My other favourites are Shanti, Life Line, Saaya, Hip Hip Hurray, Kehta Hai Dil, Shagun, Bhabhi, Khichdi, Shararat, Shaka Laka, Gee Boom Bha... actually I have to stop; the list is really long!

Q. Do you agree that Indian programming is yet at a nascent stage? On a larger scale, how would you say Indian content has evolved?

I think Indian broadcasting has achieved in 15 years what the US achieved in more than 50 years. We have over 100 channels, catering to every language and taste. There are specialty channels. All this shows that the speed of development is implausible. I would add that it is mainly due to the incredible spirit of entrepreneurship displayed by people like Subhash Chandra, Kalanidhi Maran, Ronnie himself and many others that has led to this kind of growth.

In terms of programming, we have some way to go in terms of genres. UTV has pioneered kids’ programming (Mathemagic, Gee Boom Bha, Shaka Laka Boom Boom) and game shows (Saap Seedi) but I still believe there is scope for more. Thrillers, comedy, reality, game shows – all need to find more space on channels. I also believe in (and, we are currently working on) innovative mixes; that is, like creating genres. For instance, comedy and drama, thriller and comedy, all will be added to the programming mix. Right now we are too soap-oriented.

Q. From Kehta Hai Dil, Shakalaka Boom to Shararat, there is a variety you provide in your content. But if you had to call a particular genre your forte, which one would it be?

UTV is a multi-genre company with multiple creative directors. We have very carefully built a multi-genre expertise, as we do not want to be restricted only to any one genre.

Q. How do you identify what aspect of a programme to tweak when the show is not generating the right ratings?

Of course, we keep a close watch on all our shows and how they are performing. We also are tuned into changing viewer preferences. In a nutshell, twists and turns in the present shows are a result of constant and ongoing research.

Q. What, as per you, are the necessary ingredients of a successful comedy?

Characters and conflicts drive comedy. The characters need to be identifiable, realistic and brilliantly detailed. When we create a comedy, we spend huge amounts of time detailing every aspect of the character, from their motivations, sun signs, to their exact relationship with every other character in the show — who they love, hate, tolerate etc. Conflict is central to any good show of any genre and most people don't realise that it is the essence of any good comedy. In Shararat, for instance, Jia's magic going wrong creates the essential conflict of the show.

Q. You provide content to both satellite and terrestrial channels. What are the differences in experiences with both?

Viewers are highly different from each other, so the programming also needs to be different. DD viewers prefer slightly more melodramatic stories with louder characters. On satellite, the trends are changing back to more real, perhaps more quirky characters.

Q. What role does a channel play in the storyline and changes in a show? Do you think it in any way interferes with your creative thoughts?

Television is teamwork. Channels work with us as a team to create the best possible show. They are as keen as we are to make the show work. If we are all in sync and in an atmosphere of mutual respect and trust, it is a wonderful and rewarding experience. If the sync is not there then obviously it can be stressful.

Q. How do you view techniques like in-programme product placement? Do you think they would make sense in the Indian context? If we do it, it must be done with great care, not to actually put off the viewer.

Q. With so many stories jumping by a number of years, do you see younger viewers getting to the same soaps?

Younger viewers love soaps! Yes, I do think jumping time frames can add younger viewers but they will only stick if they love the new characters and story. So, there is no guarantee that it would lead to a constant increase in viewership.

Q. What are your expectations from UTV shows in the year 2004? May they go from strength to strength!

Q. How do you go about conceptualising a programme? Any dos and don’ts?

We constantly study the market in terms of what viewers are watching and constantly ask ourselves what’s next? We have regular brainstorms where our creative team comes up with ideas, where we hear ideas from outside; though Most of our idea's come from within.

Dos are ‘Dare to be Different!’ Always build on your strengths and push the envelope (even if you fail.…you must keep trying). And, above all, never take your viewer for granted. She is much smarter than you think! As Ogilvy said with regard to advertising, ‘the consumer (in our case the viewer) is not a moron; she is your wife!’

Q. But you have built on the comedy genre quite a bit. Do you consider this to be the genre of tomorrow as far as Indian television goes?

Absolutely. The comedy genre is big. In fact, even within soaps, shows like Jassi use a lot of comedy that in turn ropes in fresh viewers such as children. UTV's comedies Khichdi and Shararat are both doing very well on STAR and we are planning some more. You can innovate there as well. For instance, you can have a comedy with an ongoing emotional track like Shanno Ki Shaadi.

Q. Television, unlike cinema, faces the problem of multiple breaks, which could lead to audiences moving out of the channel. What are the different techniques you employ to combat this problem?

There is only one way to resolve that – create a strong ‘hook’ point in the story. The essence of a good show is ‘Ab kya hoga?’ It should be gripping enough to not let the audience move out of the channel. At present, channels are employing more and more innovative ways to keep the viewer hooked. STAR, for example, has done away with signature films altogether. All channels also track where the breaks come, adjust programme-timings judiciously, increase programme length to increase viewership figures etc. So, there are these programming and packaging techniques, which help you to create this hook.

Q. What is more difficult — getting new viewers to sample the show or to get stickiness and loyalty? What are the tricks of the trade to make audience come to watch the show again and again?

This depends entirely on the platform your show is on. On a channel like STAR Plus, obviously it is very easy to get the viewer to sample your show. The real challenge is to get them back again and again. And, there are several ways to do this. Number one is story. Hook points correctly placed, surprises like celebrity guests, cross over with another show etc.

On a less buoyant platform, your concept has to hit home. A strong storyline would really help in this case. Great marketing like Sony did on Jassi, is extremely important. I personally do not believe that a celebrity actually gets the show any extra viewership.

Q. Tell us more about the current shows you are working on and anything new in the pipeline.

Currently we have Bhabhi, Kehta Hai Dil, Shararat, Shaka Laka Boon Boom on Star, we have two shows on Vijay TV, Asian Cuisine on Star World and Back to the Floor on BBC. In Malaysia, we have 2 shows on air. Yes, we have five new shows (touch wood!) that should be on in the next four months. But I am not in a position to discuss them at present.