Ever wondered what the average budget of your favourite (or least favourite) Pakistani television drama is? The question may seem simple in an evolving entertainment industry like ours, but it is really difficult to find reliable figures.

The growth of satellite TV channels that began in 2002 paved way for private production houses and helped them flourish tremendously. Since then, many mega-budget projects had been undertaken. While some of those generated great revenues many others did not. The actual production cost of a television drama has always remained a mystery.

Private TV channels and production houses seem reluctant to reveal the numbers. But despite being tight lipped over the exact figures about specific projects, private TV channels and production houses do show agreement on the estimated production budget for an average drama that ranges between Rs 1 million and Rs 2 million. Of course, the figure fluctuates depending upon the cast, content, production and the quality of post-production.

Do big budgets provide an assurance of quality and success? How do private TV channels decide which drama production to purchase from a private production houses? What are the actual factors that determine the increase in production budget? Are private production houses satisfied with the payment structure for their productions by TV channels?

Some producers believe that a big-budget production, focusing on a star cast, has the potential to attract good offers from TV channels and attract eyeballs. But it is ultimately the quality of the content, they say, which guarantees success.

Jerjees Seja, the ARY Digital Network chief executive officer, says that the quality of a drama cannot be linked only to the cast or content. “Quality means a good overall package that includes outstanding content, prominent cast and good production.”

A few years back, a quality production did not require a big budget. That has changed now. Better lighting, high definition cameras and well-skilled technicians have brought significant difference to what is now considered a quality production.

Chaudhry Ijaz Kamran, a drama producer, claims that the average cost per episode of a 38-minute drama serial has risen significantly. He says this is mainly because of increased pays of actors who now demand millions of rupees for a 13-episode drama serial. In addition, technicians and production crew have also raised their fees. “The current inflationary wave is dangerous…it has already closed down some small production houses.”

“Another problematic aspect of the situation is that channels do not pay producers on time which is a clear violation of the contractual terms”, he adds. “Every channel agrees at the time of purchase that producers will be paid within ninety days of the airing of the episodes. Unfortunately, no one fulfills that commitment.”

Ijaz Bajwa, a producer and director, has produced drama for almost every channel. But despite an apparently successful run, Bajwa has decided to quit the field.

“A few years ago, fifty percent of all drama serials were being produced in Lahore. But now production has completely shifted to Karachi. Lahore is no longer attractive for drama production,” he says. “In addition, a few big private production companies have established a virtual monopoly and private channels are at ease dealing with them.”

But that’s not all. Delay in payments by TV channels to production houses has pushed some producers to the brink of financial disaster. “Some channels still owe me payments for dramas aired almost three years ago.”

Jerjees Seja has a different story to tell. “Channels believe in quality content. Therefore, a few production houses cannot fulfill the requirement of all entertainment channels,” he says. “We shall never hesitate to purchase a good product from any station.”

Instead of looking for quality production in the industry, Seja says they now prefer to have a script in hand before giving a production go-ahead. “This helps us assure the quality we require.”

According to Seja, the old practice of watching a pilot episode to make a decision regarding purchase of a drama has now abandoned. “That is why the quality is better now.”

However, both Ijaz Bajwa and Chaudhry Ijaz Kamran favour the abandoned practice. They believe it provided more work and greater competition for production houses. But they remain more concerned about the delay in payments.

“The concept and script of my last couple of productions were approved in advance by a private channel. Yet, it brought me no financial comfort”, says Kamran. “Producers have no option other than being attached to a financial lifeline that is unfortunately in the hands of the administrations of these channels.”

The writer is a staff member. He can be reached at warraichshehyar@gmail.com