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蛇舞新春•收获满满——优尚睿思幼儿园年俗活动精彩回放_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。    蛇舞新春          收获满满          优尚睿思幼儿园年俗活动                               农历春节是中国的传统节日，其中蕴含的历史渊源、美妙传说和独特民俗，是中国传统文化不可或缺的部分。为了让孩子们走近、了解、喜爱和传承中国传统文化、丰盈孩子们幸福美好的童年生活及增添年味，优尚睿思幼儿园2025年1月22-1月27日以“蛇舞新春•收获满满”为主题，在热闹欢快的氛围中迎接春节的到来。让我们一起走进孩子们的活动现场吧！          蛇舞新春          甜甜蜜蜜过小年                    春          节          民俗•糖瓜粘          民间有“二十三，糖瓜儿粘”的说法，是对新的一年寄予美好祝愿的一种方式。         民俗•吃大席          吃大席是北方部分地区说的的一种方言，代指吃具有喜庆气氛的宴席。         1月22日          1月22日这一天孩子们一起制作了糖葫芦，在幼儿园吃大席！感受生活的甜蜜和热热闹闹的团圆饭！          精彩回放          小          年          纳          福                    除尘迎新                    春          节          民俗•扫尘土          扫尘，又称扫屋、扫房、除尘、除残、掸尘、打埃尘等，是中国民间过年传统习俗之一。年前主要是以除旧布新为活动主题，扫尘就是年终大扫除，南方称“扫屋”，北方称“扫房”。

B | 其用意是要把一切“穷运”、“晦气” 统统扫出门，寄托了中华民族一种辟邪除灾、迎祥纳福的美好愿望。         1月23日          1月23日这一天，孩子们了解了“二十四扫尘土”的民俗。看！有的擦地、有的擦桌子、有的擦玻璃、有的整理玩具柜和书柜，他们一起将幼儿园的家打扫得干干净净，共同迎接春节的到来。         精彩回放          磨豆腐                    民俗•磨豆腐          “腊月二十五，推磨做豆腐”从腊月二十五开始，家家户户的厨房便开始忙碌起来。豆腐的“腐”与幸福的“福”谐音，因此豆腐代表着祈“福”。

C | 因豆腐与“兜福”、“头福”等音相似，被寄予了新年要“富贵”的希望。

D |          1月24日          1月24日这一天是农历的二十五，民间有“二十五•磨豆腐”的习俗。这一天老师带着孩子们一起了解怎样做豆腐。

E | 从泡发黄豆开始到磨浆、煮浆、凝固、压水，每个步骤孩子们都亲身体验并见证一块豆腐的“诞生”。         精彩回放          春          节          春          节          贴福字                    春          节          民俗•贴福字          贴福字是传统年俗。每逢新春佳节，家家户户都要在屋门上、墙壁上、门楣上贴上大大小小的“福”字。春节贴“福”字，是民间由来已久的风俗。“福”字现在的解释是”幸福”，而在过去则指”福气”、”福运”。春节贴”福”字，无论是现在还是过去，都寄托了人们对幸福生活的向往，也是对美好未来的祝愿。         1月26日          1月26日这一天孩子们和老师一起拓印福字、用福字装饰教室。看！这是孩子们拓印福字挂件，我们把福气带回家喽~          精彩回放                                                                                蒸花馍                              春          节          新春快乐          民俗•把面发          “二十八,把面发” 是中国北方地区的一个传统习俗，这一天的活动主要包括发面制作各种面食，如馒头、包子、面条等，为春节期间的饮食做准备，这个习俗有着悠久的历史和文化意义。         1月27日          1月27日这一天老师和孩子们一起利用面粉、红枣等做花馍。

F | 孩子们亲手制作的花馍真不错呢！简直是创意满满          精彩回放                    春节的钟声即将敲响          喜乐的气息弥漫在每一个角落          在这个特别的时刻          我们用精彩的年俗活动          带领孩子们共同          知年俗 品年味          怀揣着对未来生活          美好的向往和期待          共同迎接蛇年的到来          优尚睿思幼儿园          祝您          蛇年大吉。

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