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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

一 |     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。    “感谢政府对残疾人的关心，让我们及时了解了这项政策，让我弟弟又多了一份退休后的养老保障。”在顺城区葛布街道辽堪社区，市民薄恩庆高兴地说。         　　为参加城乡居民基本养老保险的55至59周岁重度残疾人发放生活补助工作是我市政府惠民实事之一，为做好补助发放和管理工作，抚顺市残疾人联合会根据相关要求，制定具体工作实施方案，精准落实惠民政策，进一步完善残疾人社会保障制度和关爱服务体系。         　　59岁的薄恩成患有智力一级残疾，日常生活一直由哥哥薄恩庆照顾，哥哥同时还要照顾年近九旬的父亲，一家人生活不易。薄恩庆说：“这项政策对重度残疾人来说多了一份额外的补助，听说今年的生活补助标准又涨了一点，政府始终挂念着这部分特殊人群，我们做家属的也觉得心里挺暖的。

二 | ”          　　今年，随全省基础养老金同步调整，参加城乡居民基本养老保险的55-59周岁重度残疾人发放生活补助标准提升至每人每月134元。

三 |          　　家住顺城区葛布街道新地社区的张秀云患有视力一级残疾，58岁的她也是此项政策的受益者。张秀云说：“我们两口子都是残疾人，都没有退休金，是政府的关怀解决了我们生活上的困难，残联的工作人员经常给我们打电话关心我们的近况，这项政策也是通过残联宣传我们才知道的，多了一份补助对我们的家庭来说是极大的帮助。”          　　一直以来，市残联党组高度重视为参加城乡居民基本养老保险的55-59周岁重度残疾人发放生活补助工作。多次召开党组会议研究讨论，认真落实省委“两个找到”专项行动要求，强化“政策找人”。市、县（区）残联协调相关部门建立数据精准比对机制，找到符合条件尚未享受政策的重度残疾人，通过电话、短信、微信、发放告知书等方式提醒告知残疾人并主动服务。通过媒体等各种形式加强政策宣传，帮助重度残疾人及其监护人及时知晓补助政策并自愿申领，实现生活补助“应享尽享”。

四 | 截至目前，我市55-59周岁参保重度残疾人生活补助已发放7091人次95万元，补发上一年度差额10万余元，此项补助政策已实现了参加城乡居民基本养老保险的55-59周岁重度残疾人群全覆盖。         　　市残联层层落实责任，做好负责分工，着力加强与财政、人力资源社会保障等部门的协调配合，严格按照工作流程，加强业务研究，形成工作合力，注重核查监管，适时开展专项检查，确保补助资金规范有序发放。         　　据了解，2024年资金下拨前，市残联组织各县区对上一年度资金使用情况及本年度需求情况进行仔细梳理，摸清底数，并上报省残联，争取资金179万元，第一时间将资金拨付至县区。制定下发了《抚顺市残联关于规范执行2024年省级巩固脱贫、55-59周岁生活补助项目的通知》，要求各县区残联全力做好下发、补发工作。各县区残联根据本辖区实际情况，积极与相关部门沟通，及时将补助资金发放到残疾人手中，得到了广大残疾人的一致好评，让广大残疾人切实感受到了党和政府的关爱。                    责任编辑：李丹。

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