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Few directors leave a lasting imprint on television quite like Rakesh Vyas. With an impressive body of work that includes some of Indian television’s most iconic shows, he has been part of stories and characters that continue to hold a special place in the hearts of audiences. His journey behind the camera offers a fascinating glimpse into the creative vision, dedication and storytelling instincts that go into making television memorable.
In an exclusive conversation, Rakesh Vyas looks back at his journey in the industry, reflecting on the shows that have shaped his career, the experiences that have stayed with him and the creative process behind bringing compelling stories to life. From unforgettable television moments to the changing dynamics of the industry, the director opens up about a career built around the art of storytelling.
1. You’ve been part of some of the most iconic Hindi television shows — from Kyunki Saas Bhi Kabhi Bahu Thi and Kumkum to Jassi Jaissi Koi Nahin and Baa Bahoo Aur Baby. When you look back, what do you think made television of that era so special?
I believe television of that era was special because of its storytelling, emotional connect and the way it became a part of people’s everyday lives. The television industry operated at a very different pace back then. Daily soaps demanded tremendous discipline, speed and coordination, as episodes had to be delivered within strict timelines. What made that period particularly interesting was the diversity of stories being told. From family dramas and joint-family narratives to unconventional concepts, every show had its own identity. The characters were relatable, the emotions were genuine, and audiences developed a strong connection with them. The industry also evolved significantly after the year 2000, with the emergence of new channels, larger production teams and specialised departments such as casting, costume design, editing and post-production. Despite the demanding schedules, there was an incredible creative energy. I think that combination of strong storytelling, hardworking teams and emotional authenticity is what made that era memorable.
2. You’ve directed so many established actors. What do you look for in an actor beyond simply being talented?
Talent is important, but I believe observation, intelligence and the ability to understand human emotions are equally important qualities in an actor. An actor must understand the character beyond the written dialogues. They should be able to understand the character’s circumstances, state of mind, relationships and emotional journey. Observation plays a significant role in acting. The more an actor observes people and their behaviour in real life, the more naturally they can portray different characters. I also value an actor’s ability to understand the director’s vision while bringing their own interpretation to the role. Acting is not merely about delivering dialogues; it is about understanding what lies beneath those words and communicating it convincingly to the audience.
3. I’ve heard there’s a rather unbelievable story involving you and veteran actor Arun Bali — apparently it began with a fight and somehow ended with an invitation to the Veer-Zaara premiere. What actually happened?
There was once a disagreement between Arun Bali ji and me regarding the execution of a particular scene. We had different perspectives on how it should be performed, but eventually, we agreed to go ahead with my approach. When he watched the scene on television, he was extremely impressed with how it had turned out. That incident became a turning point in our relationship, and from that day onwards, we developed a very close bond. Despite being a senior and experienced actor, he was always open to discussions, and we shared a wonderful understanding of the creative process. Over time, our professional association turned into a genuine friendship. He was also part of Veer-Zaara, and our bond had become so strong that he personally invited me to attend the film’s premiere. I think that incident reflects something very important about direction: it is not just about technically explaining a scene or instructing an actor; it is about understanding the character, communicating the emotional requirement and earning the actor’s confidence. When an actor trusts your vision, even a disagreement can become the foundation of a beautiful professional relationship.
4. When you’re directing a VFX-heavy scene, how different is your role compared with directing a conventional television scene?
There is a considerable difference between directing a conventional scene and a VFX-heavy sequence. In a conventional scene, the location, background, actors and their surroundings are usually physically present. The director can communicate the scene through the actual environment, the actors’ positions and the camera’s movement. With VFX-heavy sequences, the process becomes more technical and requires much closer coordination between the director, cinematographer and actors. Green screens, blue screens and other visual effects techniques are often involved. The actor may have to perform in an environment that does not physically exist at the time of shooting. This requires the director to visualise the final scene much before it is actually created. Camera positioning, actor movements, expressions and even the smallest details need to be carefully planned. The challenge is to ensure that the final visual looks natural and that the audience remains emotionally connected to the scene, rather than becoming distracted by the technology.
5. Does technology give a director more creative freedom, or does it create a completely new set of challenges?
I would say it does both. Technology has certainly expanded a director’s creative possibilities. Today, scenes that were once difficult or practically impossible to shoot can be created using VFX, green screens and advanced production techniques. It gives directors the freedom to visualise stories on a much larger scale. However, it also brings a new set of challenges. For instance, when working with visual effects, the director must have a very clear understanding of the final output. The actor’s movements, camera angles, background elements and technical execution must all come together seamlessly. The biggest challenge is maintaining creative control while managing these technical requirements. Technology can help bring an imagination to life, but the imagination itself must come from the director. Ultimately, technology should serve the story, not overshadow it.
6. When you receive a script, how do you translate the written word into performances, visuals and emotions that work on screen? What is the first thing you look for as a director?
The first thing I look for in a script is its soul. Before thinking about the technical aspects of direction, I try to understand what the story is trying to communicate and what the characters are experiencing. I study the characters, their backgrounds, relationships, emotional states and the circumstances they are placed in. Understanding their mental process is extremely important because it helps me establish the overall mood and atmosphere of a scene. Once I understand the story and its characters, I begin visualising how it should translate onto the screen. This includes deciding the appropriate locations, camera treatment, performances and the overall visual language. For me, every scene must have a purpose. It should contribute to the story, reveal something about a character or take the narrative forward. The objective is to ensure that the written word eventually becomes a believable and emotionally engaging visual experience.
7. A director must often balance the writer’s vision, the producer’s expectations and an actor’s interpretation. How do you navigate these perspectives while maintaining your own creative vision?
Direction is a collaborative process, and understanding different perspectives is an essential part of it. The writer brings the foundation of the story, the producer considers the overall production requirements, and the actor brings the character to life through their interpretation. A director must understand all these perspectives and bring them together. However, the most important thing is to remain connected to the story. Every creative and practical decision should ultimately serve the narrative. There are situations where compromises may be necessary, particularly with regard to locations, production requirements or shooting limitations. But such compromises should never weaken the emotional foundation of the story. I believe a director’s responsibility is to maintain the balance between creative vision and practical execution without losing sight of what the story is ultimately trying to convey.
8. Television production often involves demanding schedules and tight timelines. How do you protect the creative quality of a scene when practical constraints are working against you?
Television has always been a demanding medium, particularly when it comes to daily production schedules and strict telecast deadlines. As a director, you have to be prepared to work within these limitations. Time management, planning and coordination between departments become extremely important. However, working under pressure does not mean that the emotional quality of a scene should be compromised. I believe preparation is the key. When the director understands the scene, the characters’ moods and the intended outcome, it becomes easier to execute it effectively even within limited time. Not every scene requires elaborate camera movements, complicated setups or extensive production arrangements. Sometimes, a simple frame, a well-positioned camera and a strong performance can communicate an emotion far more effectively. The important thing is to understand what the scene demands and use the available resources intelligently.
9. With artificial intelligence increasingly influencing script development, visual effects, dubbing and digital performances, where do you believe AI can empower a director, and where must human creativity remain irreplaceable?
AI is certainly becoming an important part of the entertainment industry, and I believe it can be a useful tool for directors. It can assist with several technical and production-related processes, including visualisation, VFX, dubbing and other aspects of filmmaking. It can make certain processes faster and provide creative teams with additional possibilities. However, directing is not merely a technical exercise. It requires an understanding of human behaviour, emotions, relationships and the psychological state of a character. AI may be able to assist in creating an image or executing a technical requirement, but understanding the emotional depth of a character and knowing how to communicate it convincingly is a different matter altogether. A director must understand why a character feels a particular emotion, how that emotion should be expressed and how it contributes to the overall story. I see AI as a tool that can support creativity, not replace the human understanding and emotional intelligence that form the foundation of meaningful storytelling.
