TelevisionIndustry – The demanding nature of daily television production continues to raise concerns among industry professionals, with actor Arjun Bijlani recently speaking openly about the long working hours associated with TV shows. In a conversation with IANS, Bijlani described the schedule as highly exhausting, noting that official shift timings often extend far beyond what is planned on paper.
According to Bijlani, a standard 12-hour shooting shift in television rarely ends within the allotted timeframe. He explained that preparation, travel, and additional shooting hours significantly increase the total work duration for artists. Drawing from his years of experience in the industry, the actor pointed out that television performers often begin their day well before reaching the set and finish long after the official wrap time.
He shared that artists scheduled for a 9 a.m. shoot typically start preparing as early as 7 a.m., leaving home by 8 a.m. He added that female actors sometimes have to arrive even earlier due to the time required for elaborate makeup and styling. Once the shooting process begins, it usually continues until at least 9 p.m., and sometimes extends further depending on production needs. After the shoot ends, artists still need time to remove makeup and change costumes, which further delays their departure from the set. The return journey, especially in heavy traffic, adds to the fatigue, he said.
Bijlani highlighted that such routines are not occasional but form part of the daily schedule for television artists. He explained that maintaining the same demanding timetable every day can become physically exhausting and mentally challenging. The actor also recalled instances earlier in his career when work pressure reached extreme levels.
Reflecting on past experiences, Bijlani mentioned that there were periods when actors effectively worked more days than the calendar month allowed, due to extended shooting hours and overlapping schedules. He described those phases as particularly strenuous, noting that the workload took a toll on both physical health and mental well-being.
However, he acknowledged that working conditions have shown some improvement over time. Bijlani stated that many production teams now aim to complete shoots within the designated 12-hour window, which was not always the case earlier. In previous years, he recalled, shooting sessions frequently stretched to 14, 15, or even 18 hours in a single day.
When asked whether television production could shift to an eight-hour workday, Bijlani expressed skepticism regarding its feasibility. He explained that the structure of daily television programming, particularly shows that air throughout the week, requires extensive production output within limited timeframes.
He stated that reducing working hours could create significant challenges for producers and production teams, especially when maintaining episode delivery schedules. According to him, daily broadcast commitments require substantial filming hours to ensure consistency in storytelling and production quality.
Bijlani also emphasized that compressing the workday might force compromises in technical execution, content quality, and overall presentation. He suggested that while shorter shifts may appear beneficial from a workload perspective, they could disrupt the balance between creative expectations and production deadlines. He maintained that maintaining quality standards in television production often requires extended working hours, making the current system difficult to change without altering the broadcasting format itself.
The discussion around working conditions in television continues to be relevant as industry stakeholders explore ways to balance artist welfare with production demands. Bijlani’s observations reflect ongoing conversations within the entertainment sector about sustainable working practices and evolving production models.
