Your show Doctors, even without heavy publicity got a great reaction by the audience.
Yes, the audience reception was truly overwhelming. This project was quite unique as it did not follow the conventional paths of publicity that OTT giants like Netflix, Hotstar or Amazon do. It was released quietly in the last week of December and by the first week of January, it emerged as the number one show in terms of views on JioCinema. The success was organic, and that made it even more special. It reminded me of the importance and power of authentic storytelling, which resonates with audiences deeply without relying solely on marketing. This kind of organic growth is what we as creators dream about.
Are you already working on season two?
We are indeed diving into season two with a fresh perspective while maintaining what worked in the first season. The writing is currently our main focus as we intend to deepen the narrative and explore new arcs for our characters. One of the main challenges is to maintain the quality while bringing something new to the table. Additionally, I’m thrilled about our new show announcement soon—it represents a new genre we’re excited to explore. It’s a busy but thrilling time.
Siddharth you have a strong background in medical dramas, but returning to this genre for OTT, how did you find working on this new series? Was the experience significantly different from when you worked on Sanjeevani and Dil Mill Gayye on TV?
The transition has been quite a journey. My reputation in medical dramas with shows like ‘Sanjeevani’ definitely played a role in being approached for this new series. They wanted something that combined the emotional depth of a love story with the seriousness of the medical field. Working on an OTT platform provided a creative liberty that TV often restricts due to content guidelines. This freedom allows us to delve deeper into character complexities and issues often glossed over in traditional formats. It’s refreshing to step outside the box and engage with themes and stories in a more raw and realistic manner.
Did the OTT space allow you more creative freedom while making Doctors?
Yes. When I made shows like Sanjeevani and Dil Mill Gayye, I had to focus on the relationships and the melodrama more than the technical aspects of the medical profession. The characters in my show were surgeons and doctors but I couldn’t show blood, injuries or operations on TV. Being on OTT allowed us to explore these aspects with authenticity. We were able to get professionals on board, who helped us create realistic prosthetics for the operations and surgeries. It was a creatively fulfilling experience.
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Since you’re accustomed to working with longer-format storytelling, what are your views on the modern viewers and their ever-changing tastes in cinema? When it comes to OTT content, especially considering how audience taste evolves, are short episodes the order of the day?
Indeed, the demand for shorter, more impactful episodes is linked to the evolving consumption habits of viewers. The modern audience has so many options and their attention spans have decreased, so creating content that captures their interest quickly is crucial. We’ve heard of the second screen phenomenon. Audiences watch our show on the TV, while watching other stuff on their phone. But, as creators, we aim to hook viewers from the first few minutes, ensuring each episode adds value and pushes the story forward. It’s a challenging task because it requires precision in scripting and presenting only the most vital parts of the story, but it’s incredibly rewarding to see audiences remain engaged.
You’re balancing both TV and OTT formats. How different is the game in theatres?
The theatrical scene is quite different. In theatres, it’s about crafting an unforgettable experience. You have to create what we refer to as an ‘event film’—a movie that invites families to actually leave their homes and partake in the cinema experience together. With ticket prices being what they are, we must ensure the journey to the theatre is worthwhile with a compelling story and high-quality production that can’t be replicated at home. It involves a lot of buildup, strategically using trailers and marketing to generate excitement and ensure that the film offers more than just entertainment but a unique experience.
Speaking of cinema, we’ve had discussions about the power of storytelling. Given your family’s legacy with creating cinema, you’re the right guy to be making biopics on legends like Meena Kumari and Madhubala.
It’s something I think about often, especially with figures like Madhubala and Meena Kumari. My family’s history provides a rich foundation for exploring these stories. However, capturing the essence of such legendary figures requires a certain degree of responsibility and authenticity. I believe these narratives have the potential to resonate on a significant level, but they also require the right timing and resources to be true to the legacy. It’s a delicate balance, and while it hasn’t happened yet, it’s definitely a thought I’m open to exploring in the future. I am working on Meena Kumar’s biopic and if given a chance, I would love to do more projects like that.
What can the audiences expect from your production house and your directorial pursuits in the future?
It’s an exciting time for storytelling. The landscape is shifting, offering new opportunities for creators every day. My aim is to continue delivering authentic stories that resonate with audiences while honouring my family’s legacy in the industry. I am working on the Meena Kumari biopic and that’s a project I am very excited about. I can’t divulge details right now, but I am happy that the Amrohi family has entrusted me with this opportunity.