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燃油车大幅降价，刚买的车就贬值？买车用车避坑指南_我的网站

三生三世十里桃花

一 | 　　最近，“燃油车集体降价”的话题在各个平台都引发了热议。一边是新车价格节节走低，多个品牌出现明显价格下调；另一边是二手油车价格跟着回落，不少车主发现自己刚买不久的车，转手价值缩水了不少。这种价格变化，让观望准备买车的人看到了机会，也让不少新车主心里不是滋味。 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。　　价格波动本是市场常事，但落到具体消费者身上，就是实打实的用车成本。面对价格起伏，买车、卖车、用车时有哪些坑要留意？又该如何维护自己的权益？　　价格变动，车主可能遇到三类情况　　一是新车刚买就遇降价，心里难免落差。这多是市场整体调整叠加促销，属于正常价格变动，但购车时不妨关注品牌是否提供价格保护或保价政策。二是二手车残值缩水，卖掉会亏，可转念一想，换个角度看也是入手二手车的低点，关键要会挑。三是个别4S店、经销商在销售环节设置捆绑、加价等门槛，这类就需要多留个心眼。

二 | 　　想在变动期少吃亏，买车前最好把功课做足：多对比几家报价，把裸车价、保险、上牌、税费问清楚；合同里的条款逐条看，尤其关注价保、退订这些约定；对车辆的新车指导价和近期成交价心中有数，别被“限时优惠”冲昏头。　　除了看单款车的价格，政策因素同样值得留个心眼。目前新能源车在购置税环节仍有阶段性优惠，不少地方还配套了置换补贴，这些都直接影响实际购车成本。如果本就有购车计划，可以把税费和补贴一起算进总账里再作决定，既能省钱，也能减少因市场价格浮动带来的落差感。

三 | 　　遇到买车、售后问题，怎么维权？　　真遇到销售陷阱、质量问题或售后纠纷，处理路径是清晰的。先和4S店或经销商沟通协商，这是成本最低的一步；协商不成的，可以向12315投诉，涉及汽车质量、虚假宣传、合同纠纷都能反映；如果问题牵涉车辆缺陷，还可以向市场监管部门的缺陷产品相关机构提交线索，推动企业重视。　　除了官方渠道，互联网投诉平台【下载黑猫投诉客户端】也能提供帮助。以黑猫投诉为例，消费者可通过网站、APP、微信小程序上传购车合同、发票、维修记录、检测报告等证据，平台转达给相关车企或经销商协调处理，进展实时可见。黑猫投诉平台还是全国汽车产品缺陷线索监测协作网的成员单位，会向有关部门汇总上报产品质量缺陷相关线索，这些数据也有助于推动行业关注产品质量问题。链接：https：//tousu.sina.com.cn/。

四 | 　　买卖二手油车，把握几个关键点　　价格走低，对计划买二手油车的朋友反而是窗口。但一定要注意几点：查清车辆的维修、保养及出险记录，判断是否事故车、泡水车；尽量选择车况透明、信誉良好的渠道；实地验车或找第三方检测，别被低价冲昏了头。同样，卖车时多找几家中介比价，了解行情再出手，避免被压价。　　说到底，无论是等着入手降价的新车，还是想淘一辆优惠的二手油车，核心都是先想清楚自己的需求：更看重驾驶品质、用车成本，还是补能是否方便。把账算明白再出手，才不容易受一时热闹的行情影响，也少留后悔的余地。　　价格有涨有落是市场常态，掌握信息、理性决策才是关键。