The television artists had made a huge bridge for a solo musical program of Runa Laila. At the time of song recording Runa Laila had synced her lips with the song standing at that 10 feet height bridge. There had been made sets of duplex building many times in the Rampura studio. The drama of Zahir Raihan “Shesh Bikeler Meye” had been produced by Abdullah Al Mamun and the director was Shamsul Islam Nantu. The unique scene of the entrance of the fire brigade after the building collapse is still remembered by many audiences.
These bigger works would be impossible if they wouldn't have moved forward through team works. Not only the bigger works, a LIVE telecast of a program is running in the studio, out of nowhere a chit has fallen into the floor, either the producer or the camera man took the chit out of the set keeping their cameras stand by.
Musa Ahmed made a mega drama serial based on a foreign story. The story was basically on the British period and the audiences had showed their interests in that drama. After the shoot of the last scene, another producer had picked out a major mistake in the scene. Later Musa Ahmed retook the scene facing so many difficulties. If there's an Econo ball pen is present in a British period based story then the whole scene can be destructed. If everybody helps like this then any small thing in television can be done in a bigger range. Many people can remember about this unity through the illness of Musa Ahmed. Once Musa Ahmed became so ill and went to coma. He had been admitted into Monowara Clinic. The clinic was overcrowded with television artists. Some were praying, some were sitting at the stairs - everything seemed like because of the love of the television artists Musa Ahmed recovered from the coma and came back to program producing.
Same goes to the case of Mujibur Rahman Dilu. Dilu was had been in coma for a long time. Due to his so many well-wishers he has come back to his healthy life.
Among the producers the first ever female producer was Khaleda Fahmi. There are some words in television regarding the producers, wherever the producer stays at, whatever his duty is, basically the direction of a program has to be done only by him. The words are valid because on later many producers have done crucial duties in television. But they always remembered the theory of directing programs. And as for Khaleda Fahmi – whatever duties had been given to her were actually the center of the television programs. When Khaleda Fahmi was a producer, everyone was going to discuss with her. Everyone was even going to discuss with her when she was an anchor. And when she was the head of the program at that time everyone was going to discuss with her normally from the schedule of their regular duties.
Khaleda Fahmi got the job at television as a program producer in 1965 by almost dropping an application. At first seeing everything at DIT studio she became so worried due to which she didn't join the television even after getting the job. But then in 1966, seeing the better condition of television programs and environment Khaleda Fahmi joined the new world of sound and scene.
The writer is Managing Director, Channel i
Translated by Imtiaz Salim