ITV

Tag: Kaahin Kissii Roz

  • It happens only in indya, Star opts to buy out portal

    Star has finally taken a full-fledged leap into the dotcom pool. Confirming its confidence in the Internet space, Star India today hoicked its stake in the much-hyped portal indya.com to “almost 100 per cent.”

    A joint release from Star and indya.com states that the Rupert Murdoch-promoted firm has bought the entire shareholding of founder and Microland chairman Pradeep Kar, and other investors. Kar had established indya.com in April 2000.

    The market was abuzz for long that Star would gobble up indya.com in toto but its management had consistently pooh-poohed that possibility. Star had earlier paid out $ 50 million for a 37 per cent stake in the portal but that was before the worldwide dotcom meltdown. No further details were available on how much Star paid to buy out Kar and associates, but official sources say current valuations are significantly lower. Some estimates put the figure at about $25 million.

    Gary Walrath, executive vice-president, Star Group Ltd, has been appointed chairman of indya.com while CEO Sunil Lulla will continue to head the dotcom, assisted by Indya’s management team, says the company release.

    The website is planned to become the online destination for all of Star’s India properties on its TV channels today and in future. Already, Star Plus, Star Movies, Star World and Channel [V] have been integrated into indya.com and will soon be joined by the group’s other channels in the coming months.

    The press release says benefits will also accrue to indya.com. “The alignment will give consumers and users an opportunity to interact more with Star on the internet and see more of indya.com on television,” it states.

    Recently the website launched interactive applications and multimedia content built around some of Star’s popular programmes like Kaun Banega Crorepati, Kyunki Saas Bhi Kabhi Bahu Thi, Kaahin Kissii Roz, Kahani Ghar Ghar Ki, Ji Mantriji (all on Star Plus), Friends, X-Files, Ally McBeal and Baywatch (on Star World).

  • “In terms of judging an idea, Arunaji is more open to discussion. Earlier, Ekta too was, but of late, she is not the same person”: scriptwriter Mrinal Jha

    “In terms of judging an idea, Arunaji is more open to discussion. Earlier, Ekta too was, but of late, she is not the same person”: scriptwriter Mrinal Jha

    "I have a fascination for thrillers, but don't forget, I also wrote many episodes of Rajni. Today, I would even love to do a soap. I have the basic criterion of a good writer, that is because I have been an avid reader from childhood," says writer Mrinal Jha, who also wrote a chunk of Mano Ya Na Mano and Kaahin Kissii Roz. Currently, she pens Meher for DD too.

    As of now, Jha, who co-authored the novel November Rain on which Aruna Irani's Tum Bin (Zee) is based, is terribly peeved. "Ekta Kapoor has taken concept credit for Kya Haadsa Kya Haqeeqat (Sony) but the first episode of her current series was almost a frame to frame copy of my series," she complains.

    Jha has gone ahead and served a legal notice on Balaji Telefilms for "concept theft" over their latest series Kya Haadsa Kya Haqeeqat.

    In her freewheeling interview to indiantelevision.com's Vickey Lalwani, Jha spoke about her distress, Balaji House stint, and lots more. Excerpts:

    When did you first realise that the "concept theft" had happened?
    Before it came on air. I had read the synopsis of the show released by the channel in a section of the press. It read word to word of what our content of Tum Bin is. I made it a point to see the first episode. And I even recorded it. To say that I was flabbergasted would be an understatement.

    How did you check your doubts?
    What doubts? It was as clear as a crystal from the first scene. There are certain key sequences which define a concept clearly. The key sequences shown were an exact replica of Tum Bin: A boy's lover dies. He does a planchet to figure out where she is likely to be reborn, and is guided to the exact place. But upon reaching there, he realises there isn't a newborn at that site and returns disappointed. However seconds after he leaves, a pregnant lady enters the scene to suggest that the prophesy was true, but the hero could not meet his lover in a reincarnated form. The order of sequences gave it away. I am not laying any copyright claim on the planchet concept per se.

    You have blamed the person who originated with the concept (Ekta), not the writer (Mushtaq Sheikh)?
    The concept originates before the screenplay writer pens his stuff, doesn't it?

    You and Ekta have worked together before. Couldn't you'll have resolved it amongst yourselves?
    To be frank with you, Ekta knew about this concept. I had discussed it with her. She has even read November Rain. When this serial was being made, I was still working with Balaji. The fact that she lifted it without even asking has hurt me considerably. She very well knows how close Tum Bin is to my heart.

    "If the audience has already seen the chain of events in Kya Haadsa Kya Haqeeqat, and the mystery that will unfold, why will they sit and watch a daily Tum Bin?"

    A still from 'Tum Bin'

    Still, isn't your complaint too harsh? Recently, 'Bhabhi' did a take on 'Trishul', 'Saara Akaash' did a take on 'Lagaan', 'Sanjivani-A Medical Boon' did a take on 'Masoom'. We all are inspired by each other…
    (Interrupts) It's okay if a scene or two is same. Don't miss the point. How can the entire concept be the same? I have seen the latter episodes and I know what I am talking. If you recall, a party had raised objection to the serial Kanhaiya (Zee) saying that the concept was their's. The Court gave a decision in favour of that party.

    Does 'Tum Bin' stand to lose out?
    Yes, it might. Due to its condensed format, KHKH is moving at a faster rate. If the audience has already seen the chain of events and the mystery that will unfold, why will they sit and watch a daily Tum Bin?

    You sound extremely peeved?
    I am. If this is allowed to pass, this would signal the end of creativity on Indian television. Every second TV serial maker will lift concepts from anywhere and everywhere.

    How do you expect to be compensated?
    I am not fighting for money. I am fighting for justice to creativity.

    Would you be okay if she puts your name in credit titles hereafter?
    No. That cannot be done. It would suggest that she has run out of ideas. It would also contradict my selling of the rights to A K Films. The ideal thing would be that this particular series of KHKH is taken off air.


    A still from 'Tum Bin'
    "I am not fighting for money. I am fighting for justice to creativity"

    Is there originality on television today?
    There "is" originality. But we need to place a value on that. This is a golden opportunity to send out the message loud and clear that originality should be protected.

    How do we do that?
    There should be a Copyright Act which should clearly spell out what plagiarisation is. Believe me, plagiarisation is one of the main causes of why there's a dearth of writers in India. If there's no law to protect what is rightfully mine and doing well, why would any other writer work hard to be innovative? Besides, there should be a punishment for copying; a punishment which should be implemented in practice and not remain just on paper.

    Do you blame the channels for asking the producers to dish out only what is working? In other words, aren't the channels responsible for the herd mentality if one may put it mildly?
    You said it! This is one of the biggest problems in today's television in our country. It is easier to convince people by telling them ideas similar to what is already on air rather than dishing out something different.

    Think of it, the herd mentality is a collaborated effort?
    I would put it this way. Collaboratively, we aren't doing anything (laughs). Believe me, it's a very dangerous scenario. Soon, Indian television might find itself in the morass which Indian cinema found itself in the late 90s when it ran out of ideas and subjects.

    Rewind. Why did you leave Balaji House?
    I worked on the second phase of Mano Ya Na Mano and also Captain House. I was working on Kaahin Kissii Roz and during that time, it had entered the reincarnation phase. Tum Bin which also featured reincarnation had come on air and I felt I was repeating myself.

    Are you hinting that 'Kaahin Kissii Roz' should have ended before it entered the reincarnation phase?
    No. I understand that if a daily is doing reasonably well, there is no need to end it. Continuity is the basic funda of a daily. But KKR was a thriller set against a family backdrop. I didn't like the fact that it was gaining supernatural overtones. The decision had been taken jointly by the production house (Balaji) and the channel (Star Plus). I couldn't do much about it. As a writer, I knew I wouldn't be enjoying myself on that track. So I opted out. If it would have remained in its original thriller format, I would have definitely continued.

    Why do you think the decision to change the format was taken?
    Most serials have moved 20 – 25 years ahead. I guess, they wanted to do the same in KKR. Seems, the general feeling is that new characters need to be introduced. It also may have something to do with the demographics of the country. There is a large amount of young population wanting to work. This is a new trend. Perhaps there is some study that has gone into this. They feel that they can rope in the young audience to watch family serials this way.

    You are currently writing 'Meher', but earlier someone else was writing. Is a change of writer good for the serial?
    Ideally, a writer should not change. It's not easy for the new writer who comes in. In case of Meher however, I have managed it easily because too many episodes had not rolled when I stepped in.

    What's the difference between Aruna Irani and Ekta Kapoor? You have worked with both of them.
    In terms of judging an idea, Arunaji is more receptive and open to discussion. Earlier, Ekta too was. Of late, she is not the same person.

    Is there any chance that you and Ekta may work again?
    Interestingly, I was in talks with Balaji for a new show when this mess happened (laughs). But from here on? (shrugs). I think the answer is obvious.

  • Actor Mohan Kapoor is Zee V-P, inhouse programming

    MUMBAI: Television actor Mohan Kapoor, last seen in Kaahin Kissii Roz and Kittie Party, has joined Zee Telefilms Ltd as vice-president, inhouse programming.
    Kapoor told indiantelevision.com, “My job will involve designing software based for on-ground activities of the channel. My first focus is on the forthcoming Zee Cine Awards.”
    Kapoor’s significant break in television was with a game show called Saap Seedi. On being asked why he decided to turn to programming, he said, “I was dissatisfied with the work I was getting on TV. It was far below my expectations and potentials. I am capable of much bigger things in life. Acting on television is not creative anymore; it is driven by factors like market research, channel interference, writer’s ideas, director’s vision.”
    According to Kapoor the problem with TV is that at the end of the day, an actor has performed everything but through someone else’s vision. “An actor has become a mere puppet,” he complained.


    While Kapoor agreed that he has known Zee chairman Subhash Chandra Goel for many years now, he said, “But I underwent the entire selection procedure of their human resource tests, before I was finally approved for the post. Goel is a thorough professional and never grants favours.”
    Explaining his role as the Zee V-P in detail, Kapoor said, “I am looking at getting into the team which handles fiction and entertainment. I have told the higher-ups about it. According to them, it should materialise in the next six months.”

  • BJP’s has starry poll plans, but are the TV stars willing?

    NEW DELHI/MUMBAI: Stars and pre-poll campaigning have always been an intrinsic part of India’s politics.
    And keeping the tradition alive, the Bharatiya Janata Party, which leads the coalition Indian government, has decided this year to use not only film actors, but also those from the small-screen. Or so the party says. Judging by some reactions, whether television’s bold and beautiful will play ball is open to question?
    In what is an indication of the growing influence of television in India, especially satellite television, the BJP says it has decided to rope in not juat a few particular TV artistes but a bunch of them for poll related campaigning in the five states that go to poll later this year, including Delhi and Madhya Pradesh.
    “We haven’t yet decided on the final list of, but would like to have quite a few from the popular soaps to campaign for the party,” BJP’s spokesperson and Rajya Sabha (Upper House) Member of Parliament, MA Naqvi, told indiantelevision.com today.
    The serials that are on the list of BJP’s poll campaign bureau include almost all the Balaji Telefilms tear-jerkers like Kyunki.Saas Bhi Kabhi Bahu Thi and Kahaani Ghar Ghar Kii.
    BJP is also not restricting itself to any particular channel or its artistes which is indicative of the fact that some stars from Sony’s Kkusum too are likely to be roped in for campaigning, according to Naqvi.
    “We have realised that apart from the film stars. TV artistes too are popular, especially in smaller towns and cities,” Naqvi said. But he refused to dish out any information whether such TV artistes would be given some remuneration or be asked to campaign free of cost.
    However, all the television personalities contacted by indiantelevision.com expressed surprise when asked about this. For one, Ekta Kapoor, Creative Head, Balaji Telefilms, said, “There is no substance in all this talk.”
    Sudha Chandran aka Ramola Sikand of Kaahin Kissii Roz said, “I have not been approached to do any such campaigning.”
    The actor who plays the title role in Sony’s Balaji soap Kkusum, Nausheen Ali Sardar, had the most telling comment to make on the BJP’s starry plans. “Which elections are you talking about? When are they going to be held?” she asked, completely clueless about the upcoming assembly elections.
    Earlier, the BJP had said Bollywood superstar Shah Rukh Khan (even the reclusive Aamir Khan’s name was being bandied about) and yesteryear’s dream girl Hema Malini are likely to campaign for the party. But Shah Rukh is not known to do such things free of cost and, going by his current status, may charge the BJP a whopping amount. Naqvi was also not forthcoming whether Khan would be paid a heavy price or not.
    But beyond the hype and hoopla of getting the crowds to election rallies, there is no sure shot way of knowing whether the presence of stars and celebrities in pre-election campaigns really convert into votes and success at the hustings.
    At the end of the day, stars may shine for sometime on the election horizon, but there is no substitute for good hard work done by the government and candidates at the ground level.

  • “In TV, there’s no point in trying to look good. It’s just how you act!”

    “In TV, there’s no point in trying to look good. It’s just how you act!”

    Here’s one actor who is not just ever-enthusiastic to take up myriad roles, but also get into the skin of his character.

    Yash Tonk. We have seen him in three different roles in Kaahin Kissii Roz (KKR) on Star Plus, and still are not tired of him. Presently, he plays the rich, sophisticated, business tycoon Kunal Sikand in the serial; earlier we have seen him as the rustic, uneducated Haryanvi Kuljeet and the deadly henchman Shaan in the same serial.

    In his first Bollywood flick Ishq Vishk, Tonk plays a rich and spoilt skirt-chaser. To Tonk’s credit is the fact that he essays each one of these roles with remarkable ease and perfection.

    Curious to unravel the real person behind this combo of looks and talents, Vickey Lalwani meets up with Yash Tonk at the Sankraman Studios during a KKR shooting.

    The meeting turns out to be intriguing and pleasantly honest – with Tonk even offering an insight into the origins of his rather unusual surname.“I hail from this village called Tonk in Haryana. That explains Kuljeet’s perfect accent in KKR,” he explains. Excerpts from the interview:
     

    How did you get into television?
    I am here not by default. Rewind. Born in Haryana, I finished my schooling there. For college, I was in Delhi. I did a few fashion shows at college. Some coordinators picked me up from there and gave me a chance to participate in shows at a professional level. I developed a strong urge to get into serious modelling. My parents encouraged me for it too.

    Then, I came to Mumbai. I got a few modelling assignments; did a bit of theatre. I was going along all right, but nothing special had happened. Then, came my real break – the music video Jai Jai Shiv Shankar with Maria Goretti. Within a short time, I had bagged my first TV serial – Just Mohabbat.
     
    Thereafter, life started smiling?
    …Rather, I started smiling (laughs). I started getting top commercials like Vadilal, Coke, Clinic All Clear, Close Up…
     

    How important has KKR been for your career?
    Tremendously. Today, I am respected, recognised and even idolised, all thanks to KKR. It has been very exciting to play Kunal, Kuljeet and Shaan – all in one serial. All the characters have been noticed and appreciated by the audiences. I can gauge this when I walk down any road.
     
     
    “Today, I am respected, recognised and idolised, only because of ‘Kaahin Kissi Roz’“
    Tonk (third from left) in a still from ‘Kucch To Hai…’
     

    Has KKR’s roles helped you polish your acting abilities?
    Certainly. I think my role has the most number of shades compared to anybody else’s in the serial. One scene, I am playing a loving husband and the second scene, I am an obedient son as Kunal.

    Then I change my get-up to play Kuljeet. The fourth scene, I am back to playing Kunal but now as a suspecting husband. The fifth scene, I am playing Kunal, the sad father. Even the character Shaan, who has disappeared now, gave me an immense thrill.
     

    Please elaborate on your stance.
    I’ve enjoyed playing all the three characters. They have all been very challenging for me. I’ve got a good chance to perform in this serial since there are various shades to these characters.

    In the beginning, Kunal was a bit negative, always suspecting his wife, then gradually he turns positive. I enjoyed the various shades, from Kunal to Kuljeet to Shaan. The biggest challenge was to precisely project the character of Kuljeet who is in total contrast to Kunal. But I guess it came easier than I expected, perhaps because I am a Haryanvi.

    It was fun because Kunal is shown very reserved, his emotions are reserved, his reactions are reserved. But Kuljeet is happy-go-lucky, great fun and extroverted. I just opened up while playing the character. As for Shaan, my body language portrayed the aggressive shades very well. I think that people too have enjoyed these contrasts.
     

    How did films happen?
    Despite the fact that I was doing a daily, I had consciously kept some space so that I could take up a film if and when it came along. I have therefore been very restricted in signed up for shows.

    Then Ekta Kapoor offered me her home-production Kucch To Hai (with Tusshar Kapoor, Esha Deol and Natasha). It was a good role, I went ahead with it. A week later, Feroz Khan signed me for Jaanasheen (with Fardeen Khan and Celina Jaitley). The movie is due for a release next month. More recently, I have signed up for a film titled Miss U (with Sohail Khan and Ishaa Koppikar).
     

    How did Jaanasheen actually happen?
    Once, I was dropping my pictures at Anupam Kher’s office because I’d heard that Kher was contemplating on some project. That was before Kher released Om Jai Jagadish (with Waheeda Rahman, Anil Kapoor, Abhishek Bachchan, Tara Sharma and Mahima Chaudhary). Someone from Feroz Khan’s office was sitting there. He spotted me. That time, Khan was doing the casting of Prem Aggan (with Fardeen Khan and Meghna Kothari). I was auditioned but things didn’t work out for the film. During the casting of Jaanasheen, my name came up again. This time, I did not falter.
     

    Don’t you think it was a blessing in disguise – that you were not a part of ‘Prem Aggan’? That film was a disaster.
    If I would have been there, it might have been a hit! Who knows! (laughs)
     
    “Had I starred in ‘Prem Aggan’, it might just have been a hit!“
     

    You did ‘Ishq Vishk’ too.
    MTV’s team was involved with Tips for the promotion of Ishq Vishk. I got a call from MTV. They knew me as I had done a music video with them earlier. They asked me to get in touch with the film’s director, Ken Ghosh. Thereafter, I underwent an audition.
     

    Is working in films easier as compared to serials?
    Comparatively speaking, working in films is easier. There is no hurry. Lots of retakes ensure that there are no glitches whatsoever.

    A film canvas is comparatively larger, and tremendous cost is involved. More than the cost, a lot of reputation is at stake. I underline that, today, a lot of money and reputation is involved in television too. But in films you have time to turn it around, rework on it to get the audience.
     

    Any other major differences between the two mediums?
    It’s very difficult to look glamorous on television. That is due to the restriction of the medium. Television is a closed medium, centred around storytelling.

    Even films tell a story, but cinema is not a closed medium. The small screen cannot capture the locale visuals and the glamorous dressing to the extent that the large screen can. Simply put, a good-looking star in films, does not necessarily look good on television too.

    Actually, in TV, there’s not even a point in trying to look good. It’s just how you act. TV audience are all ears – they just want to listen, but the movie audiences are ears as well as eyes. They want to see something exotic, something astounding.
     

    You said you got a good chance of performing in KKR. But don’t you think that the focus in the serial is tilted in favour of Sudha Chandran, aka Ramola Sikand?
    That’s one more drawback of television. To begin with, the programme is sketched for a certain period of time. But if does well, it is invariably stretched. And then the villain’s role starts getting prominence.

    Negativity in a story is like the spoke of a wheel. If the story is lengthened, the negativity has to be lengthened too.
     
    “I categorise myself as a spontaneous or an instinctive actor. I say whatever comes naturally to me“
     

    Who do you identify with most in KKR – Kunal, Kuljeet or Shaan?
    Actually, none. I cannot identify with any of the three characters. I treat them as characters and never compare them to real self.

    Yes, sometimes you go through the same experiences that you go through in a serial, but I consider them incidental. I’m totally different in real life. But I’m doing my job fine and the audience is loving it. (Pauses)

    On second thoughts, there must be some element of similarity between the real and the reel. In that case, I think the real Yash has shades of Kuljeet, since I’m always happy and keep tension at bay.
     

    How do you classify yourself as an actor?
    I categorise myself as a spontaneous or an instinctive actor. I just read the scenes and don’t believe in learning my dialogue by heart. I say whatever comes naturally to me and try to keep my emotions correct.

    I just try to see the character, what the writer has conveyed, conceive it correctly and then follow it. Only if some additional inputs are required, I add. For instance, for the character of Kuljeet, some extra inputs were required.
     

    What is the probability of your making it big in films? Only few TV actors have done it, till now.
    The probability is very good. In fact, it’s increasing day by day. Today, the scenario has changed. No star guarantees a hit film. Filmmakers are looking beyond big names. Think of it, it’s happening the other way round too – big names from tinselville are getting into tellydom.
     

    A personal question. You married your costar Gauri Yadav aka Nisha of KKR…
    For me, it was almost love at first sight. A few days down the line, I proposed to her. She accepted. I guess, I was a very good bachelor and she had no reason to refuse (laughs).
     

    What is it like to have your fiancee calling you ‘bhaiji’ (brother) in the serial?
    (Laughs). I never thought about it. I looked at it differently, that I was getting married to Gauri and not to Nisha. Nisha was just a character.
  • “I vowed to become someone big”

    “I vowed to become someone big”

    Aclassic case of inner resolve, she overcame her disability with the help of a prosthetic 'Jaipur Foot' to become one of India's most highly acclaimed dancers.

    Her public recital in Mumbai on 28 January , 1984, which heralded her comeback into the dancing arena after two years, was met with thunderous applause. Her success was followed by invitations for shows from all over the world, and she performed in several European countries, Canada and the Middle East. Films happened, and so did television. Today, she is the talk of the town, courtesy her innovative character of Ramola Sikand in Balaji Telefilms' late-night thriller Kaahin Kissii Roz.

    This dancer-turned-actor believes each country has its own heroes who have never accepted defeat. "Like them, I have always believed in asking – 'What next?', rather than, 'Why me?' If Helen Keller could overcome her handicap, so can I. The seed of achievement lies in the human mind. When this realization comes, there is no looking back. Once I decided that my handicap was not going to stop me from dancing, that was it," begins Sudha Chandran, but quickly adds before the first question, "Please don't imitate Ramola Sikand too much in letter and spirit both. 'Thoda chalega' but within the parameters of law. She is a cold-blooded murderess and you can't break the law."

    And for those who thought Kaahin…looked like it was winding up, here comes news that the serial has been given an extension.

    Excerpts from an interview with Vickey Lalwani.
     

    Was dancing your first love?
    Yes. I was a lot into dancing as a co-curricular activity. But academics was never put on the backburner. Being from a South Indian family, I was very much an academic-minded girl. I did my B.A. from Mithibai College in Mumbai and followed it up with M.A. in Economics. That year, I was the only student from my college and class who got a first division.. (pauses).
     

    Go on…
    Before that, a major tragedy struck my life. My parents and I had gone for our yearly 'abhishek' to the South. We were returning and our bus met with an accident. I suffered a fracture in my right femur. Since it was an accident case, we were thrown into a government hospital. Call it the doctor's mistake or my misfortune; they put a plaster on my fracture and the toe started getting black. Since my parents too had been injured in the accident, there was no one handy to take a decision and look into my condition closely.

    By the time my cousins came from Chennai, gangrene had set in. I was shifted to Vijaya Hospital in Chennai under the care of a leading orthopedic surgeon. He did his best for 20 days, but it became a question of life or limb. I had no other option but to get my right leg amputated. To change my mind, which obviously was almost shattered, I was taken for a holiday.

    I had finished my junior college at that time. Eight months later, I came to Mumbai. The Principal of Mithibai College, (late) Mr. C.T.Bhastana, allowed me to join F.Y.B.A from the middle of the year.
     

    Then?
    Well, that was a tough time. The body had lost the mobility. It took me two full years to get back to dancing. My dance guruji and a physiotherapist combined to put me back in action. And of course, my parents backed me to the hilt. But deep down in their heart, they used to be very upset.

    Believe it or not, my mother avoided going to the market simply because people would ask embarrassing questions about my future. Seeing all this, I felt terrible. I vowed to become someone big.
     
    "There is no Shashikala or Bindu in Ramola Sikand"
     

    Did you get into television to realize your vow?
    No. I hadn't decided which field I would hit. Destiny smiled on me without any effort. I deserved that, didn't I? Initially, the media helped me quite a bit. When I got back to dancing, a lot of journalists wrote my fight-back story in the papers. This caught the attention of filmmaker Ramoji Rao. He contacted the USIS in Chennai. They sent a fax to my father who was working for the same company in Mumbai.

    We flew down to Hyderabad. Initially, he just wanted to make a film on my life-story, with some other girl as the heroine. Later, he and even the director Srinivas thought that I should do the role.
     

    And you grabbed the offer?
    No. In fact, I asked for some time. They obliged. For three months, I kept quiet. My friends kept telling me that I was letting a golden opportunity slip away. A few days later, I gave in. Without Srinivas Rao, there would have been no Ramola Sikand.
     

    Why?
    That man is a genius. The moment he started directing me, I turned into wet clay. I learnt acting from him. He was my maker. The film did not do well in the first week but started picking up rapidly in the second. Initially, it was made in Telugu. Later it was dubbed in Malayalam and Tamil. Finally, it was remade in Hindi under the title Nache Mayuri.
     

    How did television happen?
    Television was never on my agenda, initially. After Nache Mayuri, I got films like Pati Parmeshwar, Jaane Bhi Do Yaaro, Qaid Mein Hai Bulbul and some others, but was reduced to playing sister and 'bhabhi' roles. Most of these bombed. Suddenly, there was a lull. I was jobless.

    I shifted my attention down South. I did a few Telugu films which too were no great shakes. Then I met Sunil Mehta, owner of Cinevista Communications. I explained my predicament to him. He promised to call me after 15 days. I thought this was just one of those promises which was meant to be broken. But he cast me in a TV serial Saahil wherein I got noticed once again.

    From there, I went on to anchor the Adhikaris' show Shriman Shrimati directed by Rajan Wagdhare. Rajan was impressed by my wacky sense of humour and he repeated me in another serial Kabhi Idhar Kabhi Udhar opposite Shekhar Suman. Then came a stream of serials- Manish Goswami's Chashme Buddoor, Satte Shourie's Kaise Kahoon… Touch wood.
     
    "Even the way I outline my lipstick is being lapped up! "
     

    How did 'Kaahin Kissii Roz' happen?
    Balaji Telefilms was calling me for Kkusum and Kutumb. But I was very skeptical signing on their dotted line. I had heard a lot about their unprofessional delays in shooting schedules. The executive producer of Kaahin …, Meetu, rang me to say, "Ekta is impressed with your acting in Kaise…. and she has a very exciting offer for you in one of her forthcoming serials Kaahin …."

    I heard them out. I was surprised that they wanted me to play a hi-fi manipulative industrialist. In Kaise …which they'd liked, I had played a down-market Muslim girl. I thought that Ekta was miscasting me. I told her that I needed some time to think over. She obliged. Later I told Meetu that I won't be able to work day and night as Balaji Telefilms do. I had heard about the long hours at Balaji Telefilms. Meetu squashed all my fears saying that those were all rumours, the truth is that they work on a 12-hour basis for three months, bank the serials in the process and then hit.
     

    So, life took a new turn?
    Dramatic turn! Fantastic turn! Like I was lucky to get Srinivas Rao teaching me to act in films, I was lucky again to get another genius, Homi Wadia, teaching me to act in TV serials. Wadia is the pioneer of the look, style and attitude of Ramola Sikand that people talk about today. Also, Shobha Kapoor's sister Nim Sood, the creative stylist at Balaji Telefilms, contributed a lot. Wadia directed the first 15 episodes of the serial. As days rolled by, we improvised.

    The special, queer 'bindis' and ornaments were not an original part of the look. Today, the same 'bindis' and jewellery have acquired the names of counters in many hi-fi shopping malls- Ramola Sikand 'bindi' counter, Ramola Sikand jewellery counter.! Even the way I outline my lipstick is being lapped up! Sarees are being sold under the brand name of 'Ramola Sikand'! Latest, husbands want their wives and children want their moms to look like Ramola!

    I am very proud of the fact that for the first time in India, a negative character is being followed so lovingly. Today, I am the talk at beauty parlours, kitty parties and even fashion shows. It's an author-backed role alright.
     

    What do you think has made this character tick?
    One, the fact that I am not wearing any garish make-up and mouthing dirty language; there is not an iota of cheapness in this character unlike that in the characters of vamps in films. Candidly speaking, there is no Shashikala or Bindu in Ramola Sikand.

    Two, the fact that I am a very flat character who expresses mainly through eyes; she doesn't get excited when she is happy, she doesn't get sad when her ruse fails, she doesn't get nervous before doing anything major.

    Three, the character has loads of sophistication and poise; I am very elegantly draped in chiffons and crepes. Four, the fact that this role is so different from what the people have read about me; my earlier real life projects me as a character who needs to be sympathized, and here I am making the others dance to my tunes. Five, there is a Ramola Sikand inside every human being who wants to be successful.
     
    "Working conditions in telly are good but not as luxurious as in films."
     

    Are you a spontaneous or method actor?
    Thankfully, spontaneous. I don't think that a method artiste can go far. You have to surrender yourself to the director; you ought to deliver his requirement as an output, then and there. Does he have time for the so-called methods? You will struggle if you are a method artiste if and when the director changes. Like, we have had three directors in Kaahin… far. We started with Homi Wadia, then we had Santaram Varma, now we have Naresh Khanna. The pace of thinking is different in all three.
     

    What is your USP?
    I can learn my lines in a very short period of time. I can give a very long shot without a mistake in reciting my dialogues. This plays a big role in enhancing my performance. Since I am not going to err on the words, I can concentrate fully on the expressions and body language. If you fumble, you are a candidate for retakes.
     

    What draws you to the script?
    Till now, I never had a choice. I signed whatever came to me. Not so long ago, I was struggling. But now, yes, I will be choosy. I certainly do not want to do another Ramola Sikand. Being repetitive on TV can be hazardous; you look stale. In films, it's just the opposite; you need an image to make a mark. If you experiment in films, you dig your grave. Strange, but true.
     
    Are you game to playing a goody-goody Tulsi or Parvati?
    Why not? Like Ramola Sikand, even those are author-backed roles. Thanks to Kaahin Kissii Roz, I am a very confident actor today. At the end of every day, I thank Balaji telefilms for helping me to regain my status as an actress. I can emote the positive emotions with equal ease and conviction. As an actress, I want to go through a gamut of emotions.
     
    Do you improvise on your scenes?
    When I rush back to see my scenes on the monitor, I have never felt dissatisfied with my performance. But if ever I am, I will never tell the director that he needs to take another shot. I am looking at the scene from an actor's point of view. He is looking at it from a director's point of view. Who is superior? Naturally, the director. He is the captain. I have no right to direct him. I have no right to trample on his ego. In fact, I must have blind faith in him. I don't even intervene on my lines. I am of the firm belief that every professional is here because he deserves to be.
     

    Is working on television easy?
    It's very difficult. Haven't we seen many actresses from the celluloid trying their hand on the tube and walking out in very bad shape? The deadline for submission of cassettes, every now and then, is very tough to abide by. Else, the channels don't take it lightly. We have to work 12 hours at least every day. We rarely take Sundays off. At times, this disturbs our family life.

    Working conditions are good but not as luxurious as in films. Stars walk into film shootings only when they are required. One scene can stretch to even three days. There is no Damocles' sword of a deadline hanging over your head. Besides, they sit in air-conditioned vans and take long breaks after virtually every shot. TV stars don't have time to laze and fool around; they have to be alert and quick. Everything is strictly work-oriented. Unlike film stars, TV artistes cannot be unprofessional.
     
    What's the biggest compliment you received on Ramola Sikand?
    Ramesh Sippy once told me, "The anxiety on the faces of the people when they see Ramola Sikand on television is similar to what they experienced when looking at Gabbar Singh in Sholay."
     
    What else are you up to?
    I am doing a play Kamaal Karte Ho Aap Bhi written by Imtiaz Patel. All those who have seen this play say I am like the Sweetie of Hum Paanch, a little less of 'pauli' in the head (smiles). Also, my husband Ravi Dang and I are producing a TV serial Waqt Ka Dariya directed by Ramoji Rao.

    He brought me to cinema and I share a special bond with him. Furthermore, we are planning a daily soap with Rao which should start rolling soon.
     
    Has dancing taken a slight backseat?
    Yes. Acting takes away quite a lot of time. But still I perform whenever I can.