anish Nawaz’s accomplishments as a producer have earned him critical acclaim and international recognition, particularly for his outstanding projects like Chupke Chupke, Hum Tum, Kala Doriya, and the emotionally gripping Dobara. With each new project, he surpasses himself, constantly raising the bar while maintaining his artistic integrity.

Danish began his journey in showbiz with Sab Set Hai in 2001, and since then, his career has been nothing short of remarkable. Coming from a rich acting legacy, his late father Fareed Nawaz Baloch and his brother Yasir Nawaz provided the ideal environment at home for guidance and support.

After completing his Mechanical Engineering degree from Mehran University, Danish spent some time in the private sector. However, television was in his blood, and led him to work on KTN’s series Lush, which allowed him to refine his skill through trial and error. By the time he directed Extras (The Mango Party), he had established a solid footing in the industry.

From his first project, Danish brought forth a refreshing perspective to the industry.

His natural talent for comedy, coupled with his observational skills and improvisation, has set him apart.

“I believe in the power of simplicity and relatability in storytelling,” divulges the director, and continues, “my serials and films delve into a diverse range of characters, each deeply rooted in reality.”

A self-proclaimed fan of PTV, Danish still remembers his first day at shoot. “I planned for one month before I could walk on to the set to shoot my first scene, which I remember, didn’t go so well. That was a ‘make or break’ point for me.

“It’s like when you’re stuck in traffic, you can turn back, or find alternate routes to your destination. I decided to stay and from that day, there was no looking back,” he says.

Danish’s projects showcase a complex thought process, but he too has moments where problem solving doesn’t come easily.

“When I come across such a situation, I take a few minutes, leave the set, go out for a little walk or talk to a friend and then find I can get back to work with more clarity,” says Danish.

In Hollywood and Bollywood, directors are famous for their specific genre. Danish Nawaz however likes to play with a variety of genres. He shifts from drama to comedy to romance with ease.

There is a general lack of resources and infrastructure in the television and film industries in Pakistan, whereby the quality of the project may suffer.

“I treat them as adjustments or replacements and never consider them as compromises,” Danish explains his point of view, “sometimes we have to replace something due to lack of time or budget, but you have to roll with the punches.”

Despite multiple channels and even more productions, we may often see the same faces on our screens, while newer talent might feel they are not being considered fairly.

Danish doesn’t believe nepotism is at play. “Directors are always on the lookout for new talent,” he says, “and actors should make a point to approach established, reputable production houses and agencies.”

Danish made his film debut with the hit Wrong No.1 followed by its sequel Wrong No.II which he wrote himself.

In Chain Aye Na and Chakkar, he charmed his fans with his penchant for comedy. But he believes that we have a long way to go as far as film is concerned and says the Pakistani industry has two main problems.

“The first is the budget that we allocate to a film which is way too low to make a good product out of it,” he says. “Mehran ke budget may aap Mercedes nahi khareed saktay.

“ The other reason is our audience, who have had access to Bollywood films since forever, leading them to set a certain benchmark, raising the bar. Films and TV serials have no comparison as such. In a film we have 110 to 150 scenes maximum, whereas in a TV serial number of shots go beyond 1500. So the treatment of both is as different as chalk and cheese. Once we are able to make films like they ought to be, then good things will follow.”

Danish’s ability to intertwine socio-political satire into his commercially viable projects is commendable but with the praise, criticism comes twofold. So how does Danish deal with it?

“I’m open to constructive criticism no matter where it comes from. But if it’s just a lot of noise, that’s how I treat it: like noise.”