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Tag: Kadam

  • Telly Award winners look ahead to next year and hope for encore

    Telly Award winners look ahead to next year and hope for encore

    MUMBAI: Whether it was the first time or even the third time, there was pride as well as a commitment that they would be back on the winning podium again for the Telly Awards 2004 among those who walked away with the coveted trophy.

    Karan Johar & Dino Morea giving the TV Actor of the year (female) award to Smriti Z Iraani
    As far as Star value is concerned, the MTR Foods Telly Awards 2004 belonged without doubt to Smriti Z Iraani. She won in two categories of TV Actor Of The Year (Female) as also in the biggest individual prize for the night as far as performers go – the TV Personality Award. Iraani was also one of the all-woman presenter cast on the night. Said a suitably modest Iraani: “I didn’t expect the Best Actress of the Year Award. But of course, I am glad that I got it. As for the Best Personality of the Year Award, I am very surprised that I got it. I thought that the award should have gone to someone who has really changed the face of television.”

    According to Star India CEO Peter Mukerjea who won the TV CEO Of The Year award for the third straight time (as too his channel Star Plus), “It’s great to be nominated and get the award for the third year.” Now that we have the award, we have to work harder.”

    Mukerjea, while expressing his delight at having got the award said, ” We have to keep the spirit going and hope that next year we are as good.” Mukerjea also hoped that the Star Network would win the award next year too “as we are reaping the harvest of what we had sowed earlier.”

    On phone from Hyderabad, TV Today Network CEO G Krishnan said after Aaj Tak won the Television News Channel Of The Year award, “We would like to keep the lead going and the award is an impetus for us to stay ahead.” According to Krishnan, having seen the growth “we’d like to keep the lead going and are in the process of introducing new features in the news.”

    Krishnan also said that the channel would win the award next year too.

    A happy vice-chairman of Sri Adhikari Brothers Markhand Adhikari said toeing the “comic line” had paid off after his channel. Adhikari was speaking after SAB TV’s hit comedy

    According to Adhikari, “One has to work towards the goal without thinking whether one one would score a goal.”

    Having won the award, Adhikari said that it would be the channel’s endeavour to “continue with the format that is being followed now.”

    Shaan receiving his award from VJ Gaurav

    Shaan, who received the Best TV Music Director Award of the year for Lipstick, thinks this is a good opportunity for him to consider composing as a vocation too. “I never thought of myself as a composer till now. I just wrote and composed my own songs without judging them as good or bad. But winning an award is fantastic because it tells me what an outsider thinks about my songs. The entire credit for the award goes to Goldie Behl. He suggested that I compose and write the song. It was just an informal process where I did the scratches, which Goldie approved instantly. Probably if it was some other producer, the process wouldn’t have been so much fun.”

    Winner of Best Single Episodic Series and Best Programme With A Social Message, Suhail Tatari, producer, director of Kadam on Sahara says, “I’m happy that this programme has won an award. That’s because it is one of the few that has serious content and doesn’t depend entirely on TRPs. People have always been doing women’s stories. But we wanted to do something with a different but realistic approach. With the award, we know that it has worked.”

    While talking of Achanak 37 Saal Baad, that won the Best Horror serial, Anupama Mandloi of Sony says, “When the production house came with the concept of Achanak, we immediately approved it because it had a good span of story telling. We even put up a set, Gahota, which was like a village in itself. The premise of good vs. evil was fairly complex and soon we changed it from a weekly to a daily.”

    Farooque Shaikh receiving the Best TV Anchor award from Madhur Bhandarkar

    Farooque Shaikh, winner of Best TV Anchor award says, “The feeling of winning is always great. But with Jeena Isi Ka Naam Hai, it feels even better because the show is shot in such informal surroundings and naturally relaxed fashion that the entire process becomes a lot of fun. I have had lot of fun moments on the show. It’s great to participate in the celebration of a successful person’s accomplishments. The challenge in anchoring such a show is to keep it simple. The trick is to drive the show without bringing attention to yourself. I think that’s what clicks with the audience.”

    On BBC World Service Trust and Doordarshan’s Jasoos Vijay winning the Best Thriller Award, a DD official said, “Social communication with reference to the issue of HIV/AIDS has always been a difficult challenge. Jasoos Vijay has been innovative in that manner to telecast it on DD1 on prime time. The consolation is in knowing that it is reaching a much wider audience. The good news is that we are extending Jasoos Vijay for another 24 new episodes after December 2003.”

    Ashwini Dheer, who won the Best Continuing Sitcom Award for Office Office, had this to say. We had tried hard to make something real. It’s been long since we’ve been crying over the problem. Office Office takes a tongue-in-cheek look at it and that’s why I guess we are the best sitcom. “

    Creative director of Miditech Anil Jha, whose show Kuch Yaadein Kuch Baatein on Star Gold won The Film Based Show Of The Year award, said: “It’s just about a film star’s story. It’s straight from the heart.”

    Mohnish Behl & Manoj Joshi jointly shared the best actor in a negative role award
    Best Actor in Negative role (Male) Mohnish Behl for his performance in Sony Entertainment Television’s Devi says, “I was motivated to do the role because the character Vikram is not pure black. He has shades of grey as well. He is motivated with a purpose. That’s why people like it and I have won this award.”

    When asked how Bhel, who began his career with positive roles, perfected himself in a negative role, he said, “I don’t look at it as a positive character or a negative one. I just comprehend my role and try play it will.”

    On a more general note, Bhel said, “An award function like this has always been essential for the television fraternity because people in the business meet here, socialize and exchange ideas. This leads to progress in the industry. That’s why Indian Telly Awards is so valued.”

    Co-winner in the negative category Manoj Joshi as Mayorsahab of Star Plus’ Kehta hai Dil said, “My character Mayorsahab is not your regular villain. He is sadistic and yet has an impeccable comic timing. Perhaps that’s why this six-week’s role was fleshed out into a full-fledged role. It has worked and how! It has landed me an award!”

    TV18 executive director Vandana Malik whose show Storyboard on CNBC-TV18 won The Business Programme Of The Year award: “Ten years ago we started out with little money and a big dream. This award is recognition for the fulfilment of that dream. We are not one of a clutter but one of a kind. Of course hard work and honesty have also helped us reach where we are today.”

    “Storyboard is not your typical business programme. It is an innovative advertising programme backed by very strong editorial. What was significant about last year was that the number of programming hours went up. We also became a majority stakeholder so our name TV18 became branded. We have the first mover advantage.”

    Synergy Communications’ Mastermind for BBC World was honoured with the Game Show of the Year award. Deepti Sethi said, “The advantage of mastermind is the BBC format it has adopted. The style of the show is all drama…the dark surroundings, the spotlight” that itself makes the show a winner.” Sethi says, “I am very happy that Mastermind won the best game show award. I think we deserved it. It doesn’t matter whether we are different from other game shows, it doesn’t matter that we are most watched. What matters are the accolades we have received. That’s most memorable.”

    Hansika with her mother after receiving the TV Child Artiste of the year

    TV Child Artiste Of The Year award winner Hansika Motwani was visibly excited by her achievement. “All along the way to the venue, my mother and I were debating whether I would get the award or not. I was terribly nervous and excited when the winner was about to be announced. I am thrilled to bits. Getting an award before such a huge capacity crowd has added to my thrill. I don’t hink that I can precisely explain what I am feeling.”

    Another very satisfied face on the night was Aroona Irani who walked away with the Best Weekly and Best TV Programme Of The Year awards for her show on Star Plus Des Mein Niklla Hoga Chand: “Since I have been in films, I am used to awards and limelight. But yes, television has taken me to places where cinema could not. I am loving every moment of my stint on the small screen. I owe this award to the increasing twists and turns in the Des Mein… plot. Every Monday, people are very anxious to know what will happen next Monday. There are more interesting and shocking turns in store. Wait and watch.”

    What she was happiest about though, was the TV Director Of The Year Award that she jointly won with Sourabh Narang For Haqeeqat on Sahara Manoranjan. “I think that I owe this award to my actors. Their team work and ability to understand what I want to extract from them makes the direction a pleasing and non-taxing job. Once this is achieved, the rest follows automatically.”

    There were no surprises meanwhile that Ekta Kapoor and Balaji Telefilms won its share of the awards. Speaking about the best production house trophy (again jointly won along with Ronnie Screwvala’s UTV, “This award is for one and all at Balaji Telefilms. Our passion to excel has seen us come to the top. We will continue to work hard and give you the best.”

    Balaji also won in the Best Daily and Continuous Serial trophies. “It’s always great to win awards. This moment is no exception. It’s really a great feeling to see that the people continue to love Kyunki…,” said Kapoor.

    Urvashi Dolakia receiving the Best Actress in a negative role award from Poonam Dhillon
    Another excited winner meanwhile, was Urvashi Dolakia who won for Best Actress In A Negative Role: “I didn’t expect to win it. My joy cannot be put in words. This award is ample proof to realise that the Komolika character has become a household name. I will cherish it always.”

  • ‘A director needs to know very clearly what he wants from his actors’ : Suhail Tatari’s

    ‘A director needs to know very clearly what he wants from his actors’ : Suhail Tatari’s

    Suhail Tatari’s Breast Cancer, a story depicting the trauma of a woman suffering from this debilitating disease, has just won the Screen Videocon award for the best drama series on television. The story is part of a successful series dealing with women’s’ issues called Kadam on Sahara TV.

    Tatari, who started his career in direction in 1990 with a documentary and later directed features for Surabhi on national broadcaster Doordarshan,has come a long way since and has created a definite niche for himself. His stories are about “real people, their real problems and their real emotions” as he puts it. Barring Farz and Nyay, two daily soaps he did for Nimbus, almost all his other projects reflect this philosophy. Tatari says he plans to extend this philosophy to a movie he’s going to start directing very soon.

    He took time off from his busy schedule to speak to indiantelevision.com’s correspondent, Amar.

    What brought you to direction?
    Well, my father worked with Doordarshan. Though he went on to become the additional DG (director-general) of Doordarshan, I remember the early days when he would be involved with production. I would occasionally accompany him to the shoots and found the whole process very fascinating. Then I moved to Mumbai in 1985 and got a job in the client servicing department of an advertising agency. Two years later, on my insistence, they shifted me to the films division. But again two years down the line, I got bored of shooting inanimate objects. I guess directing documentaries and serials was a logical extension of all that.

    Tell us about your experiences directing Breast Cancer.
    Breast Cancer is one of the most fascinating stories I have done in my career. Apart from the issues raised in dealing with this disease, the story is a real roller coaster ride into the personality of the girl who plays the central character. For instance, this girl is a really jovial and bubbly character. She is independent, outspoken and can go to the extent of confronting her parents when she decides to marry a struggling painter. But the same girl becomes a new person altogether once she knows that she is suffering from this horrible thing called breast cancer. She becomes fragile and vulnerable. She cannot come to terms with the fact that from being the centre of attention in the past, she now gets attention only out of sympathy. The changes in her personality are so drastic that her husband doesn’t know how to deal with this “new” woman.

    To weave a story around something as dreadful as breast cancer and to have a parallel insight into what the disease does to the personality of the girl in a span of three episodes was an achievement.

    What kind of research went into this story?
    We spoke to an oncologist at Nanavati Hospital (in Mumbai’s western suburb of Vile Parle). In fact, we took the entire script to him to find out if the technicalities were right. There he showed us a few pictures of women suffering from breast cancer. And believe me they were the most horrifying and saddening pictures I have seen in my whole life. I just imagined what a woman would go through when her breasts which are such a vital part of her sexuality have to be removed through mastectomy. Thereafter, we conceived a scene where the girl, distraught and completely shaken, compels her husband to see her once before she goes for the mastectomy because she knows she will not be the same again. This was the most crucial scene of the story and its impact had to be seen to be believed.

    Don’t such scenes leave you in a traumatic frame of mind?
    Oh, it does. All of us were so stunned shooting this scene that long after the shot was over I even forgot to say “cut”.

    What were your instructions to Mona Ambegaonkar (protagonist) before this scene?
    See, I told her that as a male I would be frightened to look at her after the mastectomy and her role as an actress was to evoke how she reacts to that fear and anguish from my side. At the same time her attitude would be like: “Just because I am losing an organ, it doesn’t mean you won’t love me.”

    Is dealing with women’s problems easy for a male? Do you have an all-woman team?
    No, not at all. In fact, it’s the other way round. See, a woman would be more emotional and maybe even prejudiced on issues directly involving her. On the other hand, a male would have a more objective view of things. Besides, as so-called enlightened males, we are all aware of some kind of discrimination against women, aren’t we? For instance, I know I would be allowed to return home at midnight, my sister wouldn’t be allowed the same liberties. So, it depends on how much one can develop on these small issues and make them into sensitive stories.

    What kind of research went into Missing (a series on missing persons hosted by film star Jackie Shroff on Sony Entertainment Television)?
    For Missing, we had a research team that studied all details of the cases because they were all factual and had to be presented as authentically as possible. I was involved with the pilot of this serial also which was shot in the house and with the family members of the missing person. In fact to the extent it was possible we shot in the houses of the missing people because we felt that at times the parents could be hiding something.

    Another area of major responsibility for a director in a serial like Missing is the casting. How did you go about this?
    At the very outset, we had decided not to take any known face because then the credibility of these stories would not be there. So, we went in for fresh faces – we searched for them exhaustively within our databank and the theatre circuit. As long as a person matched the character, we took him even if that meant working with untrained actors.

    What are the things you never compromise on as a director?
    I need effective actors who can grasp what you’re trying to say. If that happens I believe half your worries are taken care of. Besides, as a filmmaker I believe in striking the right balance between story telling and technique. I find that some directors are so obsessed with their technique that their storytelling goes haywire.

    How much of an actor does a director have to be?
    A director needs to know very clearly what he wants from his actors. See, I’ve interacted with a lot of actors and I’ve found that on many occasions they have a problem because they are not told properly what to do. For instance, if the director doesn’t like a shot, he simply tells them: “This doesn’t look nice, do something else.” I believe you should know exactly what you want from your actor – what you want him to look like, what his expressions should be, how he should say a given piece of dialogue. Unless, all this is communicated properly, the desired results will not come through?

    What do you feel of the present trend where daily soaps are dominating?
    From a personal perspective, doing a daily soap has helped me in big way – it has taught me to think real fast. But from the industry’s perspective, yes it is creating a difficult position for small producers who don’t have the resources to go in for daily soaps.

    What is your genre of film-making all about?
    I love to work on realistic issues and genuine concerns of people. My stories are not actually real life stories but they are inspired by things happening in real life. For instance, when I conceived a story on surrogate motherhood, the idea came from the prevalence of this practice in society. From there I applied my mind and wove a story depicting the emotional side of the woman going through this. I don’t intend to create an art movie sort of thing, but again I hate melodrama. Melodrama requires faking emotions which as a filmmaker I detest.

    Do you write your stories?
    I’m not involved with the actual writing but, yes I keep a close tab on all my screenplays and dialogues and do improvise on them while shooting.

     

    Who are your favourite actors on TV?
    Mona Ambegaonkar and Ashutosh Rana.

    		 Is Ashutosh Rana receptive to your ideas? He is said to have a mind of his own.
    Oh, no. On the contrary, Ashutosh is far more receptive and attentive to the director than many other actors. Besides, I’ve had a long rapport with him. I first worked with him in Farz, a daily soap, in 1996.

    What has been the happiest moment in your career?
    I had shot a story on a place called Mandu, in MP (Madhya Pradesh) for Surabhi (a culture and art series on national broadcaster Doordarshan’s DD1 channel). The entire thing was musically done and I had attempted to tell a story with as little narrative as possible. When I showed this to Gulzarsaab (renowned writer, lyricist and filmmaker), he told me that he too had done a story on Mandu long time back but mine was better than his. I knew he was not speaking the truth but I relished this compliment.