‘Sphereorigins’, the name flashed as we stepped into the cosy office of one of the most popular production houses in the TV industry.

As we prepped ourselves to get into a conversation with the CMD Sunjoy Waddhwa, we managed to get a glimpse of all the trophies that the production house earned over the years.

With iconic shows like Saath Phere, Des Mein Nikla Hoga Chand, Iss Pyaar Ko Kya Naam Do...Ek Baar Phir, Jyoti among many, the makers are today known for their award winning drama Ek Tha Raja Ek Thi Rani and Gangaa.

But what made the production a name to reckon is Balika Vadhu. The serial that depicted child marriage, for the first time in Indian television, not just got the numbers rolling but also etched a mark in audience’s mind. It also holds a record for being the longest running show.

Another landmark in their strings of shows was Saraswatichandra, which Sphereorigins took over from Sanjay Leela Bhansali.

As we entered the office, Sunjoy warmly greeted us and offered us coffee. Not the quintessential media person who evokes a pride at his experience, a man of few words, he exudes intellectuality and warmth from the word go! Someone, who has been in the industry for more than a decade, his knowledge about the TV world is humongous and he has no qualms in sharing it with others.

Coming to its new show, Sphereorigins is all set to bring the magnum opus Peshwa Bajirao on Sony Entertainment Television. Interestingly, it has Invictus T Mediaworks as the creative producer.

Getting into an in-depth conversation, time just swept away as we chatted about the trends, business and functionalities of the TV industry.

Excerpts from the interview...

Peshwa Bajirao is all set to hit the TV screens. Did the success of Bajirao Mastani made you lap up the subject? And will the success of the movie add pressure on you?

Well, we have been wanting to bring the story of the warrior Bajirao for a long time but things were getting delayed. The movie was more of a projection of his love story while we want to present the entire Peshwa factor; from politics, to family and of course the love angle in our show. Yes, when the movie got released we engrossed ourselves as it was the right time. As for pressure riding on us, well, in show business pressure comes in part and parcel and you have to deal with it every day.

Historical and mythological shows have its own audience which is on a constant rise; did the success of recent shows like Mahabharat, Maharana Pratap, Ashoka made you venture into this genre?

Indeed they are doing well and the trend has seen a growth. There are more mythological shows than historical currently on the TV space. Peshwa is a story of valour, love and emotions- a good historical tale in total. It is indeed a good and interesting space to be in and that’s why we have taken so much effort to recreate the entire Maratha region.

You took over Saraswatichandra from Sanjay Bhansali and gave it a new life. Are you up for taking over other production houses’ shows? Also Peshwa is a co-produced venture, how does the association function?

I think they are quite challenging and also a pain. You don’t take up shows because you want to, but when a channel offers it to you after fallout with the earlier producers. So it is more like a business decision than an emotional one. As for co-production, we have had maximum collaborations in the industry. I think it works beautifully if you have great understanding between each other. You need to get along well and not cross each other’s paths to help achieve your goals. Share responsibilities, not duties.

Going back, Balika Badhu is certainly a great success in the history of Indian television; did you expect such a huge recognition? What point did you think it has passed your expectations, and which was the most challenging phase of the show?        

Never did I or my teammates think that the show would go into the books of history. Yes, we had lot of trust and believe in the content. It was the first show with a social message during that time and the way viewers reacted to it was just amazing. I think the time when we realised that more than commercial success, it was touching hearts, we knew that we have created something worthy. As for the challenges, I think getting the kids and then managing them was a task. We ran a daily with kids as leads for a long time and that was a novelty factor too.

What do you think was the factor that ensured the longevity of Balika Vadhu?        

I think the character building helped us achieve the unimaginable. Every character was etched beautifully and each had its own story. I would give full points to my writers for doing that.

Were you sceptical about putting the beautiful idea on Colors which then was a new channel?          

Sphereorigins doesn’t work that way. We don’t create ideas and then think iske liye bachao (save it for them). Every show has its own destiny and there comes a moment when you either move ahead with the idea or it stays with you forever. Balika Vadhu was an in house idea which we narrated to Ashwini Yardi (who was handling Colors then). Her team too found it interesting and we were ready to go. Rest is history.

Well said. With so much competition around, do you feel insecure or as a creative honcho you enjoy challenge?

We are into the business where we are apt promoters of blood pressure and cholesterol medicines (laughs). The key is to know how much pressure you want to take. In the industry, the grass is always greener on the other side, so one needs to be content and happy with their work to avoid unwanted worry.

As a producer how much do you follow the trends while building up a show?

I think trends are more of a channel’s ball game. A creative content cannot be subjected to too much of mathematics and calculations. It doesn’t work that way. Also, one should challenge and push themselves to create trends than follow one. When we launched Balika Vadhu, there were hardly shows with social cause. Now every channel has one. You need to have gut feeling when it comes to shows than falling for trends.

The current buzz is around Naagin and supernatural creatures. Do you think the supernatural formula will soon fade out or is it here to stay?

See, we are a diverse country with a huge audience and with different taste. There are people who want to watch fantasy dramas. Without being judgmental, they are entertaining to lots. After a hard day’s work if someone likes to steal few moments and enjoy a fictionalised world, what’s the harm? But one cannot be doing the same thing and needs to bring some hatke ideas.

As for the trend is concerned, an idea is short lived and can fade out, it depends on makers how they continue the run. A Naagin might take a break post a couple of seasons and then get back with another interesting tale. It’s a cycle and novel ideas will only make it roll.

Has a television viewer changed, say in the last five years? If yes, then what is it, content preference or viewing pattern?

We have indeed become a fatter universe. The viewing pattern has changed horizontally than vertically. With BARC coming in, we have managed to get datas from newer avenues (read: rural audience). There are more audience today but as for the change in taste of content, we are yet to see a massive one. We, as Indian audience, are too sceptical to try out different content. We love our daily dose of drama. Even if there have been experiments, it’s been a subtle one taking in consideration the family viewing.

How difficult it is to deal with a channel today and its interferences?

Thankfully, we have good equations with most channels and haven’t been subjected to any interference yet. You need to also understand that the channel is bogged down by the number game and that is the reason of the angst that comes across. The patience level in the industry has seen a dip and we all need to work towards retaining it.

There is this booming news that nowadays casting happens on basis of the actor's followers on social media and popularity. Do you think it's true and can a show ride on its lead's popularity?

Sometimes it does. When you are casting for a love story, fan following might help a show’s success. You are catering to world where your audience is also your fan. And they want to see specific people more. It does make sense to cast popular faces but yes, only if they fall into the character’s requirements. A good looking face will work but not without acting skills, whereas a good actor will have the ability to convince people to like you.

A great written script, well balanced cast, a good time slot in popular channel, what do you think is most important, and achieving which one is the most difficult?

A great written script is most difficult and valuable. Only if you have good content will a cast or a time slot work for you. A proper casting is also needed as you are in the visual medium and have to make a good looking show, but without a story it will all falter. And viewers’ loyalty is not with channel but with stories that touches their heart. So, one has to focus on the content most importantly.

When a pilot gets rejected, a producer loses money, isn’t it a major risk?

More than money, it is an opportunity lost. But channels do pay for pilots and if it is an unpaid one, yes it is a risk then, but that’s the nature of the business.

Once a show is commissioned, the IPR (Intellectual Property Rights) automatically moves to the channel. Do you think it is an unfair practice especially today when there are so many digital players eyeing your content? Will sharing IPs help?

Yes, it is an unfair practice; sadly that’s how it works. More than sharing, I think exploiting the IPs would help. How are we going to monetize the content should be the focus, or it will stay forever locked with you!

Technology has put pressure on production house demand to have an HD output packed with special effects. Has that made production more expensive; how different would be the production cost of a non-mythological fiction today?

It has significantly risen. Mythos and historical demand for almost 40-60% more than what it was. But monetary decisions depend on the channel and the requirements of the story. It is purely done on the basis of merits. But yes, higher monies are available if your show deserves it.

Advertising spends on GEC are also going up year by year, is the commissioning cost from channels too going up?

Where are the slots? There are only five major channels and 6-11 pm slots and so many shows eyeing it. Competition takes over everything.

Sunjoy, broadcasters today have their digital platforms too and the shows are now played on it along with TV. They earn money from both, so is the same part of discussions during negotiations?

As of now we are following the lock, stock and barrel. There is no such clause included, that’s the plight of producers (laughs). But yes, things are changing towards betterment.  

Has Sphereorigins thought about venturing into reality space?

We want to but it’s sad that you get branded in the industry too soon. We need to break the mould between fiction and non-fiction genre. Also we would want to build a good property and then go for it than repeating international formats. And for that we will need to make a superior pilot.

Your shows have a heart-warming feel, do you want to stick to it or also produce a modern youth drama?

We have experimented and crossed all kinds of genres but yes, we do want to launch a horror show. Personally, we do like to do good content and I really enjoyed working for Saraswatichadra, Des Mein Nikla Hoga Chand, Balika Vadhu, Saath Phere and Mere Angne Mein which have a different mindset and zone.

And finally, if you have to sum up your journey, how would you define it?

Fantastic! God has been kind; we have come a long way. The only thing we follow here is that learning never stops and it shouldn’t ever cease. Also I would like to add that I am absolutely lucky to have a great team, without which I wouldn’t have survived for so long. They have stuck with me for more than a decade and that’s a positive sign.