Eagle Films director Rajiv Mehra is the only producer who has achieved a double whammy. He has been involved with the most watched, highest rated and awarded show on SAB TV Office Office; and directed the highest rated comedy show Shararat- Thoda Jadu Thodi Nazakat on Star Plus.

Despite having a film background, Mehra started his TV career early with the popular show Zabaan Sambhal Ke on Doordarshan in the early 1990s. He has also managed to do several films - the last two being Ramjaane and Chamatkar.

On SAB TV, Mehra has done shows such as Office Office, Kissa Kursi Ka, Nhok Jhok and Khatta Meeta amongst others. His firm Eagle Films also handles advertising film-related assignments, post-production work and graphics.

Mehra spoke to indiantelevision.com's Ashwin Kotian about comedy on Indian television. Excerpts:

Why has comedy not really taken off on Indian television?
We can't generalise that comedy hasn't really taken off on Indian television. There have been some excellent comedies and in the last decade or so. I can think of at least ten great comedy shows.

Our company has consistently given decent comedies despite the fact that it is very difficult to conceive comedies as compared to emotional dramas.

So what is your idea of comedy?
Comedy is all about action and reaction. The humour is introduced either through the situation or through the dialogue as against the conflict and emotions in soaps. The tension can be broken by a good line or the right expression.

However, there is a lot of trash that pretends to be comedy. This is prevalent throughout the world. As far as comedy is concerned, everybody tries to get the right combination but generally, it is all about trial and error.

Actors and writers are very important - but the key is to assimilate every element so that the mix is right. The key is to build up momentum and carry audiences throughout the entire duration of the show.

Is there a mantra for making comedies?
There is no golden rule. Also, there is nothing like an upmarket comedy. But yes, something that succeeds in a cosmopolitan city like Mumbai might have a stronger chance of succeeding nationally.

However, it is important to note that the Hindi belt is more receptive to comedy shows on mass entertainment channels. The audiences in North India are familiar with the nuances of the language and understand the puns easily.

If a product is good, it will have universal appeal. However, a comedy with universal appeal that goes beyond the confines of language is a difficult proposition.

Again TV research shows that males watch comedy much more than females. Traditionally, females have preferred drama over comedy. But, this trend is changing with more females hooking on to comedy.

Additionally, because more households in metros now have multiple TV sets, the men are exercising more direct control over the TV remote.

Also, shows such as Shararat cater to a family audience; and whenever children are involved, they force the other family members to watch the show.

What about writers?
Well, there are good writers in this country but one has to struggle to find one at the right time and right place. The problem is that everyone wants a writer who has tasted success. This pressure on the writer forces him/her to dish out mediocre stuff.

Generally, TV programming is continuous story-telling whereas the format changes in the case of comedy shows. It is difficult to make a comedy wherein the story evolves continuously in a linear format. It is easier to make a comedy that is episodic and the problem/solution are part of the same plot. The key is to pack the punch and drama into the same episode. This makes the task for the writer very difficult.

I have worked with writers such as Shaukat Bay, Rajendra Mehra, Salim Raza, Salim Aga (for Zabaan Sambhal Ke); Anurag and Umesh Shukla (for Saheb Biwi Ke Ghulam); Ashwini Dheer (Office Office); and younger writers such as Brij Mohan.