TV industry needs a monitor

Ekta Kapoor’s prime time daily soap Bade Achhe Lagte Hain is winding up end May. Falling TRPs aren’t the only reason, Ram Kapoor, one of the two protagonists has film commitments to honour. It would be impractical to continue BALH without Ram Kapoor. For any other actor to step into his girth isn’t possible.

After playing Bhairon and Sumitra for 1,592 episodes, Anoop Soni and Smita Bansal have quit the show, Balika Vadhu. Creative burnout is the reason. Keeping their popularity in mind, the makers will not replace them, instead, they are shown leaving for the US to look after Mausiji.

The above cited instances are amicable settlements. But vagaries like indiscipline, unpunctuality, etc. in the television industry aren’t uncommon. Some producers too are guilty of disorganised functioning. So the loose ends need to be secured.   

STORY BEGINS
Earlier this month, a MoU (Memorandum of Understanding) was signed between the Cine and Television Artistes Association (CINTAA) and Indian Film and TV Producers Council (IFTPC). The agreement seeks to bring discipline to the rather disorganised TV industry — the way it functions round-the-clock just to bring 20 minutes of episodes  every night, the way lead and side actors are paid, what time  they come and leave the sets, while simultaneously addressing the ‘common concerns’ of producers.

CONFUSION
One of its clauses has rubbed the reigning TV stars the wrong way and taken away attention from the “goodness of the agreement”.

Here’s why: It has been widely reported that five lead actors of a serial, as decided by its producer, will now have to sign a three-year contract. And, there has been no mention of an “exit clause” in the reports.

Three long years? What happens to their Bollywood dreams then? What if an actor falls terribly sick or relocates to a foreign country after marriage? What if the producer decides to show the lead actor the door? Worse still, the show winds up in six months due to low TRPs?

CLARIFICATION
Dharmesh Tiwari, honorary general secretary of CINTAA, clarifies: “The MoU has been misinterpreted. To make things worse, the reports don’t even talk about the ‘exit clause’.

There is no three-year bond to start with. It’s just a yearly contract for five lead actors, which will be renewed every year. And, if the show manages to run for three years, the contract will be renewed for another year. Meanwhile, if an actor quits after three years, he will have to give a four-month prior notice.”

Moving on the exit clause, Dharmesh says, “The MoU clearly states an actor can leave the show in an emergency or certain genuine cases.”

He agrees that process of making serials is a creative one, and can’t be bound by hard-and-fast clauses. These are the standards that one must refer to, says Dharmesh adding,

“Even as an actor or producer signs a contract, they can put down in writing additional terms and conditions that are mutually agreed upon.”

The MoU, signed on May 1, aims to ease the production burden as well. For instance, if an actor repeatedly reports late for the shoot, then he/she will be paid on an hourly basis.

And, if the actor turns up on the sets, but the shooting is called off, the producer will have to pay him/her for the full day shift.

THE MoU MAKES SENSE
Producers and actors alike have shared their opinions and fears. Rajan Shahi, producer of Yeh Rishta Kya Kehlata Hai, defends: “The MoU is only for those who haven’t been professional. I will definitely incorporate certain clauses.”

To actress Sneha Wagh of Veera, “The MoU makes sense as the actor becomes the face of the show and if the actor quits it affects the show and its producers.”