Raj Kapoor, a prominent figure in live television production, has established himself as a sought-after executive producer and showrunner for some of the most prestigious awards ceremonies. In a single year, Kapoor has been at the helm of multiple high-profile events, including serving as executive producer for the Grammy Awards, and as both executive producer and showrunner for the Academy Awards and the Academy of Country Music Awards. His upcoming role includes producer and co-showrunner for the Tony Awards, marking his debut with the production team for this particular show, adding to his extensive portfolio.

Kapoor's impressive resume boasts a long-standing history with major awards telecasts, including the 10 most recent Academy Awards and the 13 most recent Grammy Awards. His credits also encompass other significant events such as the Emmys, iHeartRadio Music Awards, Latin Grammys, People’s Choice Awards, and Radio Disney Music Awards. Throughout his career, Kapoor has earned two Primetime Emmys: one for the 2024 Oscars, which won Outstanding Variety Special (Live), and another for "Adele: One Night Only" (2021), recognized as Outstanding Variety Special (Pre-recorded).

His passion for awards shows began in childhood, where he would eagerly request to stay up late to watch the Academy Awards, Grammys, and Tonys, finding them "exciting and glamorous and beautiful" with captivating music performances. His mother witnessed this early enthusiasm pay off. While a veteran of other major ceremonies, Kapoor's involvement with the Tonys is new, and he expresses excitement about contributing fresh ideas, such as exploring host choices, potential anniversaries, and legacy projects, while profoundly respecting the show's unique "DNA," history, and integrity to ensure it feels inclusive and forward-looking.

The landscape of television and audience engagement for awards shows is continually evolving. Kapoor acknowledges that traditional viewing habits are changing, but these events continue to resonate culturally through social media engagement and shared clips. He highlights significant shifts, such as the Grammys moving to Disney ABC next year and the Oscars potentially transitioning to YouTube by 2029, indicating a broader transformation in how these events are broadcast and consumed.

Kapoor also discusses the art of hosting, emphasizing the value of consistency and familiar faces in bringing "goodwill and comfort" to viewers. He notes the recurring hosts for the Grammys (Trevor Noah), Oscars (Conan O’Brien), and expects returns for Cynthia Erivo at the Tonys and Reba McEntire at the ACM Awards. He praises Reba McEntire as an "icon" and "great partner" for her ability to connect with audiences through her humor, kindness, and continued relevance across music, television, and acting, making her a natural fit for hosting. He notably facilitated McEntire's first-ever performance at the Grammys after discovering she had never previously appeared on the show despite her illustrious career.

Producing these complex live events involves immense logistical challenges and year-long planning. Kapoor describes the continuous cycle of analysis post-show, design processes, and host confirmations that occur long before nominations are announced. He reflects on the recent Grammys, noting Trevor Noah's success as host but acknowledging the production difficulty of the Best New Artist segment, which featured all eight nominees. Similarly, for the Oscars, limited song performances are a byproduct of overall show timing, including new awards like casting, and allocating time for hosts such as Conan O’Brien, illustrating the tough decisions producers face in balancing various elements.

Despite the intricate coordination, Kapoor expresses a strong preference for live television over pre-recorded specials. He is "hooked on the adrenaline rush" and the "joyful experience" of a shared, simultaneous event that engages millions worldwide. He believes the inherent nervous energy and "imperfect camera shots" of live broadcasting contribute to its unique allure, creating an unparalleled atmosphere that cannot be replicated in a pre-recorded format, where those minor imperfections are typically corrected.

The sheer effort involved in producing shows like the Grammys, with numerous acts, hundreds of stagehands, and rapid set changes within minutes, is something Kapoor believes should be more widely recognized. He finds it "unbelievable" that the Grammys has not yet won a program Emmy for Outstanding Variety Special (Live), given its "degree of difficulty" and massive undertaking.

On a personal note, Kapoor reveals a family connection to the famed Indian actor, film director, and producer Raj Kapoor, explaining that his grandfather was a cousin of the Kapoor family. He never met the late Raj Kapoor but had the opportunity to meet his son, Rishi Kapoor, who had seen his name on the Oscars credits and tweeted about it.

Looking ahead, after his commitments, including a special with "one of the biggest titans in all of country music," Kapoor plans a two-week vacation to Italy for reflection and reset. He emphasizes that none of these shows are the work of a single executive producer. He highlights the crucial support and collaboration from co-executive producers like Ben Winston, Jesse Collins, Patrick Menton, Katy Mullan, Rob Payne, Sarah Levine Hall, and Jack Sussman, as well as mentors such as Ken Ehrlich and Glenn Weiss. Kapoor views his role as part of a "lovely kind of circle of life," grateful to contribute to television history and support the next generation of talent in the industry.