Deepak Sehgal, VP Content & Communication, Star India
Being a general entertainment channel, we target men, women and children and we get this target for our daily soaps. You will be amazed by the children viewership we have for the so-called Saas Bahu serials. For programmes like 'Kahiin Kisi Roz', we get a large male population. People want to watch this today. A 'Kehta Hai Dil', a 'Sanjivani' or a 'Saara Akaash' did not work until we brought in a scheming saas or a wrong marriage.
Being a general entertainment channel, we target men, women and children and we get this target for our daily soaps. You will be amazed by the children viewership we have for the so-called Saas Bahu serials. For programmes like 'Kahiin Kisi Roz', we get a large male population. People want to watch this today. A 'Kehta Hai Dil', a 'Sanjivani' or a 'Saara Akaash' did not work until we brought in a scheming saas or a wrong marriage.Three years and not once has Star floundered from the numero uno spot it occupies on the Indian Television scene. After the 'K' spin of 'Kaun Banega Crorepati' and 'Kyunki Saas Bhi Kabhi Bahu Thi', the channel has barely erred when it comes to content that viewers demand. In this high ride, Deepak Segal, the recently promoted VP, Content and Communications, has always been a part of the channel and has been a part of its growth.
In this candid chat with Noor Fathima Warsia, he speaks about the strategies that give Star the prominence it holds today and talks about the channel's reaction to new challenges. Q. On these television shaking properties… Cannot tell you anything before three - four months. What I could mention is that we are launching a new show based on the tales of Hatim Tai. And in two weeks time, you will know exactly when it is coming. Another new show that we are planning on will be placed in our weekend programming.
Q. On attributes that convert pilots into Star property … Television is the longest form of narrative programming. Being in that realm, the first thing we look at is the pull of story. For most pilots or when a story is narrated, the first episode ends on a very high note. If I ask what next, I am told 'life goes on'. So, we gauge how long can it go on interestingly. And then it is the character's potential. For example in 'Kyunki…' or 'Kahaani…', it is the character that holds the audience to the channel. The story itself has gone through various turns. There are other factors like gap in genres, time slots or content providers too. But pull and potential are prime when it comes to content selection.
Q. On the expectations from content providers … Content providers have a crucial role to play. They are the creators who come up with story ideas. From our side, I can tell them what kind of programmes we already have, where is viewership fatigue settling in. They have to think how to provide differentiation.
Another thing is that since we work together, we have to vibe well. I need people who bounce ideas back to me. If a content provider blindly accepts whatever changes I suggest, then he cannot even be called 'creative'. Everyone we are working with currently scores on these counts. Whether it is Ekta, who is superbly creative or Goldie. So, things smoothly sail through
Q. On Star's interference in programming … There is a misconception that Star interferes too much. We do break in but only because we know what we want. We make suggestions to content providers. You have to understand that we have a huge variety in our programming. There is a staple diet for us, what is classified as the Saas Bahu serials. Then there is a 'Son Pari', a 'Jeet', a 'Josh'. Then there are format programmes. We are the only channel providing such a content line-up. And somewhere these shows have to be coordinated so that same plots do not repeat. In order to achieve this, we do interfere.
Q. On whether such is the interference with the other channels in the network like Star World, Star Movies and Star Gold … The content for Star World and Star Movies is done from Hong Kong. There is a separate beam for India. So, here our interference limits to suggestions. Movies, the acquisition is completely done in the American market. But we can pick the movies that will work with the Indian audience. India is very unique in its taste. Movies like Rambo, Terminator or Anaconda work here.
With Star World, we can suggest placement of foreign content. Like if 'Monk' seems to be doing well for India, we can ask them to place it at prime band. As for the kind of shows, we go for LA screening and discuss with Steve what will suit our market.
Q. On the difference in thought processes of Star World's content and the inducing of Indian content … Star World is targeted for an English educated Indian, who because of practical reasons doesn't have time for religion or is not into joint families. It's for the Indian who would want to know about new hang outs or new cars. So those are the kinds of programmes we include.
The Indian band is an attempt to increase the Indian content. For which, I believe, there is a huge audience. I plan to broaden it for the sheer potential. This programming change is more of content addition unlike Star Gold, which is transformation.
Q. On the attempt to transform Star Gold to a current movie channel … We have been trying for a while now to give Star Gold the image of a current movie channel. Somehow in the mind of the viewers, it still is 'Gold shows Old'. But we are creating properties that will differentiate us from other movie channels. There is a lot of value addition, so we expect things to improve there. All said on these channels, Star Plus remains our citadel.
Q. On Star's new weekend programming strategy… The reason why we needed to refresh the weekend programming is that films acquisition is of very high cost and GRP wise it gives you nothing. A film like Devdas costs you in crores and ratings wise you get a 1 or a 2. That's horrific. In that much money I can create programmes for two years.
Here at Star, we believe that while Monday to Thursday is staple diet, on a weekend people experiment with life. If we put a 'Kyunki...' on a weekend, the programme will get rattled by this disloyalty. We call this linear programming. You need a programme that people can go in and out of.
People are already familiar with the characters and each episode is a story in itself. Khull Ja Sim Sim will come back in a new season. Somewhere down the line we will put a tense situation show on the Saturday line up. So there are quite a few plans to spruce up the weekends as well with all kinds of new shows.
Q. On Star's aim to continually hook man, woman and child… TV is a medium that talks to you. Being a general entertainment channel, we have to generate entertainment for families at large. We target men, women and children and we get this target for our daily soaps.
You will be amazed by the children viewership we have for the so-called Saas Bahu serials. In the later parts of the day for programmes like 'Kahiin Kisi Roz', we get a large male population. People want to watch this today. A 'Kehta Hai Dil', a 'Sanjivani' or a 'Saara Akaash' did not work until we brought a scheming saas, a wrong marriage or such angles in it.
Q. On the areas he wants to change in Star programming in response to new challenges … With the kind of success we have, it is very odd to comment on what I would like to change in programming. Everything in life goes in a cycle and changes have to be brought in accordingly. We have had three years of huge success and now there are people at the gates of the fort. There is a Jassi who will take off her glasses one day or a love story somewhere.
We are aware of all that and we will take things as they come one by one. There are properties, which we have developed ourselves that will hopefully shake the television environment. So we are prepared, waiting for the right time to make our moves.
Q. On development of genres like formats, comedies and kid's programming ... Format shows are here to stay. We will come back with interesting formats. In case of KBC, the expectations are so high that it has to be really thought out we present it.
Comedy is a difficult genre due to lack of content. If the audience does not understand your joke, then you have failed. The challenge of writing is huge. It is not the same as drama. Khichdi worked when we brought comedy from the point of view of the children.
Kids bring in with them the extra audience, the mother, grandparents other members of the family. We tried the experiment with Son Pari that worked for us. Then Shaka Laka Boom Boom, Krishna Arjun is targeted at kids. 8 is almost a kid's band. But children viewership is not restricted to that and for us success is when the whole family watches our programmes.
In this candid chat with Noor Fathima Warsia, he speaks about the strategies that give Star the prominence it holds today and talks about the channel's reaction to new challenges. Q. On these television shaking properties… Cannot tell you anything before three - four months. What I could mention is that we are launching a new show based on the tales of Hatim Tai. And in two weeks time, you will know exactly when it is coming. Another new show that we are planning on will be placed in our weekend programming.
Q. On attributes that convert pilots into Star property … Television is the longest form of narrative programming. Being in that realm, the first thing we look at is the pull of story. For most pilots or when a story is narrated, the first episode ends on a very high note. If I ask what next, I am told 'life goes on'. So, we gauge how long can it go on interestingly. And then it is the character's potential. For example in 'Kyunki…' or 'Kahaani…', it is the character that holds the audience to the channel. The story itself has gone through various turns. There are other factors like gap in genres, time slots or content providers too. But pull and potential are prime when it comes to content selection.
Q. On the expectations from content providers … Content providers have a crucial role to play. They are the creators who come up with story ideas. From our side, I can tell them what kind of programmes we already have, where is viewership fatigue settling in. They have to think how to provide differentiation.
Another thing is that since we work together, we have to vibe well. I need people who bounce ideas back to me. If a content provider blindly accepts whatever changes I suggest, then he cannot even be called 'creative'. Everyone we are working with currently scores on these counts. Whether it is Ekta, who is superbly creative or Goldie. So, things smoothly sail through
Q. On Star's interference in programming … There is a misconception that Star interferes too much. We do break in but only because we know what we want. We make suggestions to content providers. You have to understand that we have a huge variety in our programming. There is a staple diet for us, what is classified as the Saas Bahu serials. Then there is a 'Son Pari', a 'Jeet', a 'Josh'. Then there are format programmes. We are the only channel providing such a content line-up. And somewhere these shows have to be coordinated so that same plots do not repeat. In order to achieve this, we do interfere.
Q. On whether such is the interference with the other channels in the network like Star World, Star Movies and Star Gold … The content for Star World and Star Movies is done from Hong Kong. There is a separate beam for India. So, here our interference limits to suggestions. Movies, the acquisition is completely done in the American market. But we can pick the movies that will work with the Indian audience. India is very unique in its taste. Movies like Rambo, Terminator or Anaconda work here.
With Star World, we can suggest placement of foreign content. Like if 'Monk' seems to be doing well for India, we can ask them to place it at prime band. As for the kind of shows, we go for LA screening and discuss with Steve what will suit our market.
Q. On the difference in thought processes of Star World's content and the inducing of Indian content … Star World is targeted for an English educated Indian, who because of practical reasons doesn't have time for religion or is not into joint families. It's for the Indian who would want to know about new hang outs or new cars. So those are the kinds of programmes we include.
The Indian band is an attempt to increase the Indian content. For which, I believe, there is a huge audience. I plan to broaden it for the sheer potential. This programming change is more of content addition unlike Star Gold, which is transformation.
Q. On the attempt to transform Star Gold to a current movie channel … We have been trying for a while now to give Star Gold the image of a current movie channel. Somehow in the mind of the viewers, it still is 'Gold shows Old'. But we are creating properties that will differentiate us from other movie channels. There is a lot of value addition, so we expect things to improve there. All said on these channels, Star Plus remains our citadel.
Q. On Star's new weekend programming strategy… The reason why we needed to refresh the weekend programming is that films acquisition is of very high cost and GRP wise it gives you nothing. A film like Devdas costs you in crores and ratings wise you get a 1 or a 2. That's horrific. In that much money I can create programmes for two years.
Here at Star, we believe that while Monday to Thursday is staple diet, on a weekend people experiment with life. If we put a 'Kyunki...' on a weekend, the programme will get rattled by this disloyalty. We call this linear programming. You need a programme that people can go in and out of.
People are already familiar with the characters and each episode is a story in itself. Khull Ja Sim Sim will come back in a new season. Somewhere down the line we will put a tense situation show on the Saturday line up. So there are quite a few plans to spruce up the weekends as well with all kinds of new shows.
Q. On Star's aim to continually hook man, woman and child… TV is a medium that talks to you. Being a general entertainment channel, we have to generate entertainment for families at large. We target men, women and children and we get this target for our daily soaps.
You will be amazed by the children viewership we have for the so-called Saas Bahu serials. In the later parts of the day for programmes like 'Kahiin Kisi Roz', we get a large male population. People want to watch this today. A 'Kehta Hai Dil', a 'Sanjivani' or a 'Saara Akaash' did not work until we brought a scheming saas, a wrong marriage or such angles in it.
Q. On the areas he wants to change in Star programming in response to new challenges … With the kind of success we have, it is very odd to comment on what I would like to change in programming. Everything in life goes in a cycle and changes have to be brought in accordingly. We have had three years of huge success and now there are people at the gates of the fort. There is a Jassi who will take off her glasses one day or a love story somewhere.
We are aware of all that and we will take things as they come one by one. There are properties, which we have developed ourselves that will hopefully shake the television environment. So we are prepared, waiting for the right time to make our moves.
Q. On development of genres like formats, comedies and kid's programming ... Format shows are here to stay. We will come back with interesting formats. In case of KBC, the expectations are so high that it has to be really thought out we present it.
Comedy is a difficult genre due to lack of content. If the audience does not understand your joke, then you have failed. The challenge of writing is huge. It is not the same as drama. Khichdi worked when we brought comedy from the point of view of the children.
Kids bring in with them the extra audience, the mother, grandparents other members of the family. We tried the experiment with Son Pari that worked for us. Then Shaka Laka Boom Boom, Krishna Arjun is targeted at kids. 8 is almost a kid's band. But children viewership is not restricted to that and for us success is when the whole family watches our programmes.
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