If you like the editing of Balveer, Preetam Pyare Aur Woh, Aur Pyaar Ho Gaya and Yeh Rishta Kya Kehlata Hai, you better know Sameer Gandhi. This man works day and night on the editing table of these shows along with his expert team to serve viewers with the best product. The man has worked in over 25 shows as a TV editor. In a freewheeling chat with Tellychakkar.com, he talks about his journey as an editor and association with Rajan Shahi, a producer whom he completely looks up to. You’ve had a very long association with Rajan Shahi’s production house Director’s Kut. Tell us a bit about it... My association with Rajan Shahi began during Ghar Ki Lakshmi Betiyann where he was the director. What I liked and still like the most about him is that he always boosts the editor as much as he boosts the artist and rest of the crew. His meetings will always involve the writer, director, creatives and the editor. Moreover, he will be there with you even at the editing desk to assure that everything is running smooth. Editing must be a huge responsibility? One has to submit the episode at the right time, no matter when the footage comes to you. And then you know that in daily soaps, you sometimes get the footage just a couple of hours before it’s meant to go on-air. In such a situation you are under the pressure of giving a good output as well as living up to the expectations of the channel and the producer. Does it mean you can’t demand for more time to edit a particular episode, even if it needs the time and attention? In such a situation the producer comes into the picture and I have a very understanding producer in Rajan Shahi who gives me the time and space to make the given product best. He is always there to support and extend the deadlines to get a better product. What are the issues that most of the editors face in today’s television scenario? Editors usually do not get the required recognition for their work and of course, the untimely payments are a problem. The amount of hard work that a television editor puts in, needs to be rewarded with a good sum of payment but that does not happen. Most of my editor friends are suffering through this. In fact there are just three or four editors in TV who get paid well. The Editors’ Association is looking into the matter at the moment and everyone’s hoping for the best. Looks like the producers are not taking their shows seriously. After all, the final product is made at the editing table? I have noticed that a lot. Most of the producers don’t bother to know what’s happening at the edit; all they are concerned about is a product airing at the end of the day. That’s why when I bump into such a producer I move out of the project, for it does not satisfy me as a professional. Aren’t there times when you get bored editing for a daily soap? I have been doing this for a long time and it has become a habit now. In fact, I am completely involved in the shows I edit. So much is the involvement that I usually know how a particular character would react in a given situation. We have Gujarati and Rajasthani shows but most of our artists are from Mumbai hence, there are times when they use the Mumbaikar Hindi and as an editor I have to change it (by either dubbing it, getting it re-shot or merging it with an old footage). We need to understand that the audience will not accept it. Which shows have troubled you the least on the editing table? Ghar Ki Lakshmi Betiyann and Bidaai artists knew their roles too well to mess up anywhere. Hence, the editing always got easier. Would you ever want to try any another aspect of show making? Not at all. No matter who you are, you have to come to the editing table at the end of the day and I am there. I don’t see a place better than it.