A | 추형욱 SK이노베이션 대표SK이노베이션이 SK아이이테크놀로지(SKIET)를 흡수합병한다. 비용 절감과 사업 효율화가 목적이다.SK이노베이션은 26일 양사 '온라인 합병발표 설명회'를 열고 △분리막 수요 감소 △중국 생산 능력 확대에 따른 수익성 악화 △SKIET 자체 현금 창출력 한계 등을 합병 배경이라고 설명했다.사측은 “중국 경쟁사의 생산 능력 확대와 가격 경쟁 심화로 (분리막) 업계 전반 수익성이 악화되고 있다”며 “분리막 수요 감소로 매출 회복이 쉽지 않은 상태에서 중국 경쟁사와의 구조적인 원가 경쟁력 차이를 단기간 내에 해소하기 어려운 상황”이라고 말했다.그러면서 “이에 따라 SKIET가 자체적으로 수익성 및 현금 창출력을 유의미하게 개선하는 데 한계가 있다고 판단했다“며 “영업손실 누적에 따라 자체 차입 여력도 축소돼 이 경우 SK이노베이션 계열에도 부정적 영향이 발생할 수 있다”고 합병 배경을 설명했다.합병을 통해 기대하는 효과로는 △재무 안정성 제고 및 자금 조달 여력 확보 △사업 구조 효율화 및 비용 경쟁력 제고 △사업 리스크 완화 등을 꼽았다.SKIET가 독립 법인으로 유지되면 손실 누적으로 신용 등급이 하락할 수 있는데, 합병 이후에는 분리막 사업 차입 주체가 SK이노베이션으로 변경된다. 따라서 모회사의 재무 건전성과 신용도를 기반으로 안정적인 자금 조달이 가능하다는 분석에서다.회사 측은 “합병 후 부채 규모는 증가하지 않지만, 금융 비용은 절감이 가능해 SK이노베이션의 재무 안정성도 제고될 것”이라며 “양사의 조직과 기능을 통합하고 사업 구조를 재편해 운영 효율성을 높이고 비용을 절감할 수 있을 것”이라고 강조했다.특히 비용의 경우 600억원의 절감 효과가 있을 것으로 봤다. 사측은 “사업을 통폐합하면서 전체적인 비용 절감이 예상되는데, 총합 연간 약 600억원 정도의 상각전영업이익(EBITDA) 창출 효과가 예상된다”고 전했다.회사 측은 이번 합병 과정에서 SK이노베이션의 자금 대여, 출자, 포괄적 주식 등의 다양한 대안이 있었다고 전했다. 다만 제3자 매각의 경우 상장사 인수에 대한 수요가 낮고, 분리막 사업의 시장 매력도가 낮아 매수인을 확보하기 쉽지 않았다고 밝혔다. 자금 대여의 경우 근본적 재무구조 개선이 불가하다고 봤고, 주식 교환은 신용등급 추가 하향 조정 가능성이 있을 것으로 내다봤다.앞서 SK이노베이션과 SKIET는 25일 각각 이사회를 열고 양사간 합병 추진 안건을 의결했다고 밝혔다. 이번 합병은 SK이노베이션이 SKIET를 흡수합병하는 방식이다. 존속회사인 SK이노베이션은 소규모 합병으로, 소멸회사인 SKIET는 일반합병 절차에 따라 추진된다. 합병 비율은 1대 0.1174540이다.SK이노베이션 관계자는 “분리막 사업의 재무 안정성과 운영 효율성을 높이고 생산 및 공급 안정성을 강화하는 한편, 제품 개발과 사업 경쟁력을 제공할 수 있을 것으로 기대된다”고 강조했다.。 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。
Current article:http://www.lindunfokangliucishirun.shop/xp5i/gm7ad.ppt
Published on:18:03:15
