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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。

B |     第6-10名：小萨、帕威、戈贝尔、拉文、巴特勒          这五人的问题各不相同，小萨上赛季受到膝伤影响只打19场，未来两年工资超过9400万美元，帕威还有3年5400万美元合同，却只交出场均7分，34岁的戈贝尔下赛季年薪3650万美元，之后还有3800万美元球员选项。拉文和巴特勒好在合同都只剩最后一年，但价格都非常高，拉文年薪4900万美元，巴特勒更是达到5680万美元，而且两人都存在伤病问题，到期合同能够降低长期风险，可想让其他球队付出优质资产接手，难度依然很大。

C |          第5名：杰伦-格林          杰伦-格林只有24岁，却排到第5，多少有些让人意外。

D | 加盟太阳的第一个赛季，他只出战32场，场均17.8分3.6板2.8助，投篮命中率42.2%，三分命中率31.3%，效率并不理想，更麻烦的是合同结构，新赛季年薪3600万美元，2027-28赛季还有价值3600万美元的球员选项。对于潜在交易对象来说，这份合同存在明显风险，如果格林继续低迷，他大概率会执行球员选项，如果重新打出身价，他又掌握主动权，可以选择跳出合同，年轻仍是最大优势，但想重新提升交易价值，新赛季表现非常关键。         第4名：福克斯          福克斯的入选争议更大，毕竟他上赛季还是全明星，并且帮助马刺打进总决赛。真正影响交易价值的是合同与季后赛表现，新赛季开始，福克斯4年续约正式生效，未来总薪资约2.22亿美元，上赛季他场均18.6分3.8板6.2助，季后赛表现也与接近5000万美元的年薪并不完全匹配，与此同时，马刺还有卡斯尔和哈珀两名年轻后卫需要培养。福克斯依然是优秀控卫，可当年薪未来逐渐涨到5000万甚至6000万美元级别，其他球队想接手就必须考虑长期薪资压力。         第3名：浓眉          浓眉的问题一直很明确——健康。

E | 上赛季他只打20场，场均20.4分11.1板2.8助，随后再次因为伤病提前结束赛季，新赛季工资达到5850万美元，2027-28赛季还握有6280万美元球员选项，潜在剩余合同超过1.21亿美元。健康状态下的浓眉依然拥有顶级防守影响力，可33岁的年龄配上伤病史，让任何接手球队都需要承担巨大风险，打得不好，他可以执行6280万选项，打得足够好，又可能寻求下一份大合同，这也让交易谈判变得更加复杂。         第2名：乔治          乔治可以说是大合同迅速贬值的典型。36岁的他上赛季只出战37场，场均17.3分5.3板3.6助，新赛季工资5410万美元，随后还有5660万美元球员选项，两年潜在薪资达到1.107亿美元，更关键的是，他过去三个赛季都没有出战超过60场。

F | 乔治的投篮、防守和无球终结依旧出色，可年龄、出勤率与5000万级别工资叠加之后，球队如果想再次交易他，讨论的重点很可能不再是能换回什么，而是需要搭上多少筹码。         第1名：特雷杨          特雷杨高居第一多少有些意外，毕竟他只有27岁，生涯已经4次入选全明星。问题还是合同和市场反馈，上赛季受到膝盖、背部和腿部伤势影响，他只打15场，场均17.9分8助，奇才随后仍然给出4年2.128亿新合同，新赛季起薪4950万美元，最后一年达到5840万美元。更尴尬的是，此前老鹰送走特雷杨时，只得到CJ麦科勒姆和基斯珀特，没有拿到首轮签，如今又多了一份接近顶薪的长期合同，交易难度自然进一步增加。

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