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[ 新车官图] 6月8日，岚图汽车发布了岚图FREE(参数|询价)+的6款车身配色，分别为杜若白、玄英黑、宸星灰、云纱金、琉璃紫和韶华青。作为现款岚图FREE的改款车型，岚图FREE+定位中大型SUV，搭载了华为乾崑ADS4驾驶辅助系统，将在本月开启预售。
岚图FREE+搭载的15.6英寸2K超清屏可实现五屏联动（中控屏、后排屏、AR-HUD、仪表、冷暖箱控制屏），支持鸿蒙手机一键投屏及跨设备任务流转，音频、导航等信息可无缝同步至车机。    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。后排MagLink拓展坞兼容多品牌平板电脑，实现独立观影与中控交互。此外，新车将会提供极光紫，琥珀棕，深海蓝三种内饰颜色。
门板搭配仿生金丝白桃木装饰
仿麂皮材质覆盖仪表台、门板等区域
岚图FREE+内饰采用“城市光影美学”与“五感沉浸座舱”设计语言，通过触感、体感、听感、嗅感、视觉五大维度构建差异化体验。触感方面，座舱95%面积采用软质包裹，仿麂皮材质覆盖仪表台、门板等区域，搭配仿生金丝白桃木装饰。

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主驾“撑腰”领航座椅
副驾“太空副驾”配备腿托及163°躺倒功能
后排座椅支持27度+12度靠背角度调节及极速加热/通风
体感层面，2960mm轴距带来近1.9米净乘坐空间，主驾“撑腰”领航座椅优化人体工学支撑，副驾“太空副驾”配备腿托及163°躺倒功能，后排座椅支持27度+12度靠背角度调节及极速加热/通风。
Voyah Sound音响系统
听感上，新车搭载Voyah Sound音响系统，配备22扬声器、7.1.4全景声场及双头枕音箱，还支持超跑声浪模拟，进一步调动驾驶欲望；嗅感应用OEKO-TEX认证面料与CN95空调滤芯保障车内空气质量；视觉以浮岛式布局、256色光瀑氛围灯及 “时光模式” 动态光影为主，主打营造科技与温馨兼具的座舱氛围。
256色光瀑氛围灯
作为“华为系”首款搭载HarmonySpace 5座舱系统的量产车型，岚图FREE+实现智能交互与生态互联的全面突破。系统搭载云端语音训练引擎，支持一句话多意图、连续对话及音区锁定，语音助手“小艺”可学习用户习惯并优化交互体验。系统还提供小憩、洗车、离车不下电、露营四大情景模式，通过自动调节座舱环境参数，适配多样化用车场景。

C | 鸿蒙生态支持5万+手机应用上车，结合HSpace-Link外设开放协议，未来可扩展更多智能设备联动。

7L冷暖箱
三温区空调
岚图FREE+全系标配了四门电吸门，支持-30℃至50℃耐候性自动吸合；7L超大容量冷暖箱可在10分钟内将温度降至0℃，满足冰镇饮料与恒温储物需求；三温区独立空调支持驾驶位、副驾、后排分区控温，同时注重噪音控制。
此外，新车副驾拥有智能美妆镜采用镜屏一体设计，支持日光级显色与三档色温调节；后备箱配备220V充电插座，拓展户外场景实用性；1.78㎡全景天幕搭配电动遮阳帘，紫外线隔绝率超99%，兼顾采光与防晒需求。
简单回顾新车外观，其整体设计相比FREE更具科技属性，采用贯穿式的LED幕墙灯组设计，同时前包围采用了贯穿式的通风散热开口设计。在车身尺寸方面，它的长宽高分别为4915/1960/1660mm，轴距为2960mm，定位为中大型SUV。
动力部分，新车将继续搭载由1.5T增程器组成的增程系统，其发动机最大功率为95千瓦，驱动电机最大功率为215千瓦。并且还搭载了EDC魔毯悬架，具备5种驾驶模式可选，并且还增加了预判路况的能力。据了解，岚图FREE+的量产版本预计于2025年内上市。关于新车的更多信息，我们会持续报道。（文/ 岳长兴）
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