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Exclusive: I relate to Srikant Tiwari: Sumit Arora on The Family Man, working with Raj & DK & more_我的网站
A | Sumit Arora has come a long way, from humble beginnings in the television industry to films and now OTT. He is the man behind widely quoted lines from Stree, The Family Man and Jawan among others. In an exclusive conversation with Filmfare, he opens up about coming to Mumbai at 17 with film dreams, finding his footing through TV, collaborating with Raj & DK, Suman Kumar and Farhan Akhtar and writing dialogues that become pop-culture favourites. He also opens up about the changing value of writers in the film industry, crafting massy moments for Shah Rukh Khan, and the excitement of seeing his lines live forever in the audience’s memory. Excerpts: Tell us about your journey from a small town in India to one of the most prominent voices in Bollywood... We can write a book on that journey. I was 17 when I came to Bombay with the dream of writing for films. But getting into films was not easy. I did not have any experience or any course in screenwriting. I got a job as a trainee writer in TV and that's how my journey started. But I left that job because I wanted to do relatable shows. Then I found those shows - Chhoona Hai Aasmaan, Dill Mill Gayye and Sadda Haq. All these shows resonated with me. At the same time, I also kept trying for films. TV was a stopgap arrangement for me. Eventually, I ventured into films in 2015 and my first film Stree came out in 2018. The love for the dialogues still keeps coming in. That changed my life. And immediately after that The Family Man came in 2019. The journey from there has been like a ride. I am now able to choose the projects that I would want to watch. Who were some of your inspirations growing up? I grew up on Hindi literature. Neither on films nor on English literature. Some of my top writers have been Harishankar Parsai, Rajesh Joshi, Ravindranath Tyagi and Gyan Chaturvedi. These are the satirists of Hindi literature and that's why you see a lot of humour in whatever I do. You have collaborated with Suman Kumar, and Raj & DK multiple times. How has this bond evolved over the years? We have been working together for almost 7-8 years now. The bond has been great because I understand what they like and they understand my language. They trust me fully with it. It's a collaboration with equal trust and love. For two people to collaborate well and continuously, they have to understand each other instinctively. What kind of responses are you getting for The Family Man 3? People have been loving the dialogues and I am getting a lot of messages on them. I got a lot of love over Jaideep's dialogue where he says that one should increase their status but not forget it. A lot of people liked the exchange between JK and Srikant in the jail and Srikant's conversation with his son Atharva about pronouns. View this post on Instagram A post shared by Sumit Arora (@sumitaroraa) Tells us about that pronoun scene... The idea came from Suman. He has a daughter who talks in that kind of language. Then I had to make it further interesting in terms of dialogue. I tried to look at it from Srikant’s point of view. He is a guy who grew up in Banaras, much like how I grew up in Meerut, Uttar Pradesh, and now I live in Bombay. So, if somebody tells me that ‘she’ is not ‘she’, ‘she’ is ‘they’, how will I react? I tried to tap into that. I relate to Srikant on a huge level. I also come from a small town, so it was easy for me to look at this situation from his perspective. You had another big release, 120 Bahadur. How was the collaboration with Farhan? It was a great collaboration because he is very open. As a creative individual, he allows you the free space. He comes from years of experience as a filmmaker, and it reflects in how he looks at a script. Farhan is also a dialogue writer so it was good to have somebody like him as a bouncing board and somebody who is listening to your dialogues. I got a lot of insights into how his process is and I always find it interesting to know how other people think. You went to the location during 120 Bahadur's shoot. Do you do that for all the shows and films you work on? Yes, mostly. I do go on the sets, especially in the beginning of the shoot, when the tone is getting set. When you are there as a writer when the characters are being established in the early days of the shoot, you can help or correct them. You can see whether the way you thought the characters will talk or will behave is aligning with how the actors are working. If the actors are bringing in new elements, you can be there as a bouncing board for them. It is nice and essential for a writer to be present in the beginning of the shoot. Jawan’s dialogues have become pop culture favourites, and Shah Rukh Khan won the National Award for the film. As the dialogue writer, how did you feel when his win was announced? He should have won the National Award long back. It's totally his win and it was overdue. Every project comes with its own expectations from a writer. With a film like Jawan, you are writing for SRK and for a director like Atlee who is known for his massy films. So you have to understand both sensibilities. It is very different from something like The Family Man, where you need to deliver a lot of humour, sharp writing and sharp exchanges of dialogues. But for a Jawan, the expectation is that you have to deliver 'mass moments' yet you have to carry your individuality. Mass moments can't feel dated, they have to feel like what today's audience enjoys. I like to write things that I would enjoy watching as an audience. If I am writing a mass film with a huge star, I will think about how I want to watch a big star today. What kind of lines would I like this star to say and what kind of mass moments would I like to watch as an audience? You have to strike a balance between the sensibilities you have and the requirement of the film. That's how you find an interesting and unique zone. For years, audiences have remembered iconic lines and the stars who say them, while the writers behind those lines often remained unseen. Is that changing now? It's always a work in progress. The industry still has a problem internally. They have understood the value of good writing but there is a lot of reluctance towards giving that same value to the writers. People know that we need good writing and without good content we cannot make a hit. Everybody has understood that across the board. But yet, when it comes to remuneration towards the writer, or giving writers respect, they shy away from it. They fall short of it. When a young writer is delivering something, you should be able to identify it and give it good respect in terms of money and value. You don't need to respect someone after they have delivered 5 hits. Respecting the stature of a person is not equal to respecting writers and writing. This fundamental shift needs to happen. I interact with a lot of young writers and if I like something interesting, I try to mentor it and help people. This is something that I would have wanted when I was starting out. That people like me, who have some access, help young writers. What are some of your dialogues you are proud of? 'Woh Stree hai, woh kuch bhi kar sakti hai' from Stree. There are more lines from the film that I like. I put all my heart out in that film. I like quite a few lines from this season of The Family Man and then of course, there is Jawan's dialogue, 'Bete ko haath lagane se pehle baap se baat kar.' Has the approach towards writing changed post pandemic? People have too many options and they have gotten used to watching stuff in their homes, on OTT platforms. The whole approach has changed especially when it comes to writing for films. Now you have to write something exciting enough for people to come to theatres to. You have to find such stories. What was that one turning point in your career that made you believe that you have arrived? The release of Stree changed everything. I put my complete heart and soul into that film. And it was received well. There was some frustration before that where I felt it's taking too long to reach where I want to reach. But at no point did I feel that I should quit or go back. Also Read: Farhan Akhtar Brings War Hero Maj Shaitan Singh PVC To The Silver Screen In 120 Bahadur。 近日，内丘县扁鹊客栈。当第一缕晨光越过山峦洒在窗前，室外鸟鸣声声。北京游客张利军拉开窗帘，走到露台上深吸一口新鲜空气，神清气爽。
近日，内丘县“扁鹊湖村骑”活动中，骑行爱好者沿着扁鹊湖骑行环线畅享骑行乐趣。
B | 刘继东摄张利军是80后，长期高强度工作让他身心疲惫。
C | 趁着休年假，他和朋友来到内丘开启一场慢旅行。抵达后的第一天，张利军和朋友登扁鹊山、逛扁鹊庙，沿着蜿蜒的山路走走停停，沉醉在青山绿水间。晚上回到客栈，泡上一壶酸枣芽茶，点燃助眠崖柏香薰，躺在助眠床垫上，伴着阵阵虫鸣安然入眠。“来到这里，仿佛把城市喧嚣和工作烦恼都隔绝在外，身心得到彻底放松。
D | ”张利军高兴地说。近年来，内丘县依托独特的生态资源和扁鹊文化底蕴，以扁鹊庙为核心规划建设扁鹊康养度假区，打造扁鹊山、扁鹊湖等人文生态景观，研发药膳50余种，在酒店民宿融入25项健康睡眠场景，为游客带来深度睡眠体验。“丰富多元的康养业态，吸引了越来越多的京津游客来到内丘。”扁鹊客栈负责人郝香国介绍，其中有不少是回头客，有的还带动身边人前来游玩。
E | 去年8月，饱受创业压力的北京游客郑好来到内丘，游古村、逛景点、品药膳，入住助眠客栈，积压的焦虑和疲惫一扫而空。今年5月起，郑好将个人的治愈体验转化为文旅项目，面向京津的高压力群体、亚健康人群等，每月组织三天两夜的内丘深度静养疗愈游。游客们在云雾缭绕的扁鹊山前练习八段锦，在扁鹊客栈冥想静心……整个旅程集助眠静养、健康管理、药膳调理于一体，让大家放慢脚步，舒缓情绪、调养身心。内丘康养游，不仅有“静”的一面，还融入了“动”的元素。去年以来，该县将骑行运动融入文旅康养产业，重点打造了扁鹊湖骑行环线和扁鹊药谷特色骑行赛道，在骑行驿站、酒店投放自行车，方便游客取用体验，推动骑行运动与自然风光、特色中药材种植、扁鹊康养融合发展。“今年，我们创新骑行场景，在扁鹊湖骑行环线常态化举办‘扁鹊湖村骑’活动，引导群众健康骑行。”内丘县委宣传部副部长王瑶介绍，“扁鹊湖村骑”由各乡镇轮流举办，同时设立乡镇特色市集，展销本地特色农产品。前几日，天津游客杨国昊租了一辆山地自行车，穿戴好骑行设备，加入五郭店乡大众骑行队伍，在蜿蜒起伏的赛道上享受骑行快乐。
F | 杨国昊是内丘康养游的忠实粉丝，每年都要来内丘待上几天，通过“中医+运动”疗法调理睡眠。当刷到“扁鹊湖村骑”活动信息时，他再次来到内丘。逛特色市集、体验艾灸理疗、品尝杂粮馒头，还买了演武川红薯粉条、富家沟绒花茶等当地特色农产品……“这就是内丘的迷人之处，总能在充满烟火气的活动中找到心安之处，给身体、心灵放个假。
G | ”杨国昊高兴地说。（日报记者 闫德见）。
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