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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。    　　随着人工智能大模型加速落地，词元时代到来，全国各地掀起布局热潮——从词元工厂到词元超市，从数据标注基地到AI模型工场，各类新业态层出不穷。陕西今年6月上线了西部首个词元交易平台——陕西丝路词元交易平台。平台运行两个月来效果如何？词元从生产到交易总共分几步？词元消费时代，下一个竞争重点是什么？　　听到“交易平台”四个字，你脑海中浮现的画面也许是喧闹的大厅、穿梭的人流、此起彼伏的电话铃声。但在陕西丝路词元交易平台，这些熟悉的场景一样都没有出现。

B | 　　实际上，词元交易平台根本就没有实体大厅。陕西丝路数据交易中心执行总经理史奎打了个比方——它相当于我们常用的淘宝、京东等电商平台。　　史奎：词元交易平台并不是具体的实物办公场所，它是线上化、数字化的交易系统。和电子商务平台一样，用户就像在网上逛超市，在平台上浏览、调试、下单，还有调用、购买词元产品等相关操作都是在线上完成。　　只不过，电商平台上交易的是衣服、家电、日用品，而词元交易平台上买卖的是以“词元”为单位的数据产品和AI能力。

C | “词元”是数据的计量单元——简单说，一段文字、一份报告、一次问答背后消耗的计算单位，都可以用词元来衡量。

D | 　　史奎把这种模式叫作“前店后厂”——“前店”就是今年6月已上线运营的词元交易平台，相当于线上超市；“后厂”则是还在建设中的词元工厂，负责源源不断地生产“货品”。　　史奎：“前店”就是平台本身，相当于词元交易的商店、超市，面向市场交易词元。“后厂”支撑“前店”，相当于自营模式，也是真正的词元加工厂。围绕数据加工、数据标注、模型微调、模型接入、智能体开发，还有对外提供一系列数据API服务，保证货架上的商品有持续供给。

E | 　　那么，这个“超市”的货架上到底摆了些什么？上线两个月来，平台已开始签订履约合同。史奎介绍，平台主要提供两类词元能力：一类是通用词元型产品，另一类是应用能力型产品，比如把某家三甲医院几十年积累的脱敏诊疗数据灌入模型，微调成一个AI问诊助手，需求方使用时只需一键调用，系统就能快速返回专业结果。　　史奎：一类是通用词元型交易产品，也就是目前大家广泛使用的一些模型，比如DeepSeek、千问、豆包等常用模型。第二类是应用能力型词元产品，更聚焦于行业。

F | 尤其针对OPC“一人公司”，他们需要数字员工提供服务，像财务、会计、法务、行政管理等，为这类小微企业提供服务，减少企业运转过程中的成本。

G | 　　一个企业或开发者想在平台上购买词元，具体流程是怎样的？　　史奎：用户在平台上进行注册，完成实名认证后，就可以购买，和在其他电商平台购买商品时的方式一样。平台会推出通用型词元的API，用户接入后，不管调用哪个模型或智能体，每调用成功一次就根据单价结算一次、计量一次，用户可以从账单上清楚看到消耗了多少模型或智能体的词元，让用户的消费过程清清楚楚。　　如何定价？这也是词元消费时代大家最关心的问题。史奎说，词元以“百万”为计价单位，通用大模型100万词元的调用费只有几毛钱，当前价格相当便宜。

H | 平台的计费方式也灵活多样——一种是预付费模式，用户先充值后抵扣；另一种是订阅制，按年付费、按月付费。　　陕西的探索，只是全国词元消费时代大棋局中的一步。近几个月来，词元领域政策信号密集——今年3月，国家数据局正式将Token的中文译名确定为“词元”，将其定位为“智能时代的价值锚点”；7月，国家数据局副局长余英首次明确“鼓励基于词元应用的商业模式创新，探索词元交易等新型交易模式”。从中央到地方，词元相关的政策框架正在加速搭建。下一步的竞争重点在哪里？　　在江苏无锡，今年5月全国首个城市级“词元超市”上线，30多款主流大模型像超市货架上的商品一样供企业挑选，企业只需注册一个账号，就能一站式调用全部模型，无需挨家对接。　　无锡的“词元超市”也采用“用多少、付多少”的按量计费模式，极大降低了小微企业的使用门槛。从今年5月运营以来，“词元超市”已经为无锡50多家企业提供服务。　　如果说“词元超市”是面向应用层的“便民超市”，那么算力一体化网络，则串联全国分散的算力资源。

I | 在广东韶关，“东数西算”粤港澳大湾区枢纽节点正在变成一座巨大的“算力工厂”——一排排机柜就是生产线，机柜里的芯片就是不停运转的“数字工人”。正是这些看不见的算力，支撑着全国每天超过140万亿的词元调用。

J | 　　从陕西的“前店后厂”到无锡的“词元超市”，从韶关的算力底座到全国各地涌现的数据工厂、词元工厂，各方布局热火朝天。但词元工厂、数据工厂、词元交易平台……这些概念之间究竟是什么关系？　　国家数据专家咨询委员会委员、北京交通大学教授 张向宏：词元工厂是以数据为关键生产要素，以智能体为核心生产工具，以算力为新型基础设施，将数据、算法和算力等智能能力统一封装成词元的一种新型生产业态。

K | 　　词元工厂由数据工厂、智能体工厂、算力工厂组成。高质量数据集是词元的原料基础。

L | 数据工厂是规模化生产高质量数据集的基本业态，由储备车间、生产车间、中试车间等环节组成。　　智能体工厂是规模化生产智能体的基本业态，由场景选择、任务创建、模型选择、智能体生产、智能体调优、智能体中试等环节组成。算力工厂是规模化生产、监测和调度算力的业态，由算力中心、算力集群和全国一体化算力网构成。

M | 　　词元消费时代到来，各地纷纷布局。那么，当前面临着哪些亟待解决的问题？张向宏分析，当前词元使用的“尺子”还不统一。　　张向宏：在训练阶段和推理输入阶段，词元是大模型的最小语言单元和输入计费依据。但是，当前不同厂商使用不同分词技术和分词规则，导致不同厂商基于相同规模数据分成的词元规模并不相同。词元是用户输出的收费依据。

N | 但是，不同厂商的模型间和同一厂商不同模型间，所采用的推理路径和思维链长短并不一致，导致不同厂商和不同模型解决同样问题所耗费的词元差异较大。　　同时，计量不一致、计价黑箱问题也存在，这些短板不解决，词元消费的规模化发展就无从谈起。专家指出，下一步的竞争重点不是建多少平台、盖多少工厂，而是要在词元的标准统一、计量规范、定价透明等基础制度上取得突破。　　张向宏：在定价体系方面，词元价格基本由头部大模型企业单方制定。

o | 算法是核心壁垒，企业不开放调用数据、不接受第三方监测，外部无法衡量、无法核价、无法核税。在计量单位方面，规模相同的数据采用不同分词方法，分解出的词元规模不同；一度电能转化的算力不固定、同等算力生成的词元数量不固定、同等数量的词元在大模型中价值不固定。到目前为止还没有形成1度电、1吨水、1升油、1GB流量等相类似的词元计量单位。　　如今，词元时代的大幕已经拉开，但从“能用”到“好用”、从“有市”到“有价”，还有很长的路要走。　　记者丨刘涛 钱成 王德俭 吴汇军。

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