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国产C919飞机订单爆发 目录价格为何有所抬升_我的网站

A |     4月26日晚间，中国国航(601111.SH)发布公告称，公司与中国商飞公司签订协议，向后者购买100架C919飞机。这是第二家一次性下单百架国产C919飞机的国内航空公司。图源：卡乐图片 贾琼 摄　　2023年9月，作为C919大型客机的全球首发用户，中国东航（600115.SH）曾在2021年签订首批5架C919的基础上，再向中国商飞增订100架C919客机。    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。当时也是C919收获的最大单笔订单。　　如今，国航也向中国商飞下了同样数量的订单，意味着国产C919飞机会得到更多国内航司“身体力行”的支持。　　C919飞机是在2023年5月才开始投入商业运营的，目前一共有5架在东航的机队中飞行，主要在国内执飞三条商业航线。也正是在2023年前后，C919客机的订单开始爆发。

B | 　　两家订购机型不同，目录价格有所抬升　　作为我国首款自主研制的窄体喷气式干线客机，C919的价格一直是外界颇为关心的话题。

C | 界面新闻注意到，相比去年东航订购100架时的目录价格，目前C919目录价格有所抬升。　　中国东航去年9月28日公告显示，公司购买的100架C919飞机的目录价格合计约为99.00亿美元（公开市场报价，     2023年目录价格）。而中国国航今日公告显示，根据商飞公司提供的最新目录价格，前述100架C919飞机的基本价格合计约为108亿美元。　　界面新闻注意到，前后目录价格之所以有9%的价差，并非是商飞对飞机价格进行了调整，而是国航与东航订购的C919机型不同。其中，国航公告中显示，订购的是C919飞机（增程型）；东航公告显示，     订购的是C919飞机（基本型）。图片来源：国航4月26日公告　　早在2021年6月，上海市政府印发《上海市战略性新兴产业和先导产业发展“十四五”规划》，当中就提到，推动C919单通道干线飞机完成适航取证与示范运营，逐步实现商业化落地与产业化，启动C919单通道客机加长型、衍生型等系列化研制。　　2023年第六届进博会上，商飞还在国家馆中集中展出C919     系列两款新机型的模型——C919加长型和C919缩短型。

D | 现场介绍显示，C919加长型顺应单通道客机市场大型化的发展趋势，两舱布局210座，满足国内与亚太地区重点城市间的运营需求。

E | 前述国航所订购的增程型也就是这里所说的加长型。　　不过也需要注意，目录价格并非航空公司向制造商实际支付的价格。国航在公告中提到，每架飞机的基本价格包括机身、附加部件及引擎的价格。经买卖双方公平谈判，商飞公司给予国航购买飞机较大价格优惠，故本次交易的实际对价低于前述飞机基本价格。东航方面也表示，商飞公司给予东航较大幅度的价格优惠，因此该批次飞机的实际价格显著低于目录价格。

F | 　　从支付方式和资金来源看，国航称，交易的对价将以现金方式分期支付，由公司自有资金、商业银行贷款及其他融资方式为本次交易提供资金。东航方面则表示，具体支付方式为公司先分期支付部分预付款，然后于每架飞机交付日再付清余款。资金来源为自有资金、商业银行贷款、发行债券及其他融资工具所得资金。　　国航并未具体透露2024年将会引进多少架C919飞机。而根据东航2023年年报中披露的引进计划，2024年东航将引进6架C919、2025年和2026年分别再引进10架。截至目前，中国商飞共向东航交付5架C919，目前全部投放至上海虹桥-成都天府、上海虹桥-北京大兴、上海虹桥-西安咸阳三条航线上实行常态化运营。　　（中国小康网综合@第一财经、界面新闻）。

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Published on:20:59:49