Muppet Movie Re-Make

April 1, 2010

EDIT: I just figured out that the post on ToughPigs that made me want to rip out my liver was an April Fool’s Day joke. My rant still holds many truths though.

Now, it’s time for this blogger to do what bloggers do best.

Rant

And even better– rant about fanboy-ish stuff nobody cares about.

Today Google Reader brought me this post from ToughPigs.

If you don’t want to read that post, have a little snippet:

Having been unable to come up with a new script that everyone likes, Disney has announced a new plan to relaunch the Muppet movie franchise with a remake of The Muppet Movie.

When I read this I was so angry.

First- Disney does crap with the Muppets. They had Studio DC: Almost Live, and Letters To Santa which weren’t very good. Sure, they released The Muppet Show box sets after the Jim Henson Company released the Fraggle Rock box sets.

Then they had all the internet videos, right? After the Jim Henson Company shifted it’s focus to online.

Okay, let’s shift to another section of the Walt Disney Company. Let’s take a peep at their other live action films. Oh… wait a minute… they have made the same movie billions of times!!!!! People that don’t get along well, they’re thrust together, they face a common conflict, they love each other.

It’s right about now that Disney is realizing “Wait a minute!!!! We can’t do that with the Muppets! We actually have to come up with a new concept!!!!!!”

So then Rich Ross (Dick Cook’s replacement, for those of you who don’t know) says, “Awww man, I wish we could just use Jim Henson’s ideas… he was good.” (That was not intended to be a gay joke.)

“Hey wait a minute! Why can’t we? Let’s re-make The Muppet Movie.”

So Disney can only use minimal creativity. They can’t come up with their own feature concept anymore. (At least for live action, we’re not discussing animation here.)

But what if this sale never went through? What if The Jim Henson Company never sold the property?

THEY SUCK TO RIGHT NOW!!!!!!

I hate to be blunt but its the truth. They have their kids shows (Shot on HDPS, which is pretty much motion-capture/puppetry in one.) Sid The Science Kid and Dinosaur Train, and those are good, then they have a bunch of properties under the Henson Alternative (HA!) brand. But these aren’t even shows. These are videos that they put online and say “we’re gonna make a new TV show” AND THEN THEY NEVER DO!

Honestly, if JHC still had their hands on it, I’d be blogging my rant about an HDPS Kermit.

Now wait for a few months for my rant on a Pixar Kermit.

It sucks to be a Muppet Geek.

Princess & The Frog’s B.O. Flop

February 18, 2010

I’ve been obseassing over Box Office numbers recently. Mostly because I needed a hobby (besides work) and got so angry at Avatar’s success.

What’s really dispointing about these B.O. numbers is one movie that I have been waiting for since it was announced. Disney’s The Princess & The Frog. The return to cell animation. What I’m not so happy about? It’s done terribly in B.O.

It was doing great, then all of a sudden Alvin & The Chipmunks 2: I Refuse To Type The Subtitle hit theatres and killed. Utterly destroying Frog. (Chipmunks are cuter?)

The weekend Chipmunks 2 hit (December 25-27, 2010), Frog got 35% up on that Friday 97% up on that Saturday, then on Sunday, everything began to die.

Most of days in January, it was on a decline: even after the chipmunk hype! Because of all the mass hysteria of Chipmunks 2 everyone forgot Princess & The Frog was there! It played strongly on Fridays and Saturdays, which is interesting.

Don’t get me wrong, it did pretty good, but only increased for a short while, then got on it’s steady decline of daily gross.

You know what really gets me fired up about all this? Disney’s bold move to traditional animation got beaten by a computer-animated star movie.

After Frog, Disney plans to bring us Tangled (formerly Rapunzel) next year (planned to hit on my birthday!) and King of The Elves in 2012. Two COMPUTER ANIMATED films. Frog didn’t flop, but it got beaten, and when your as big as Disney, getting beaten is just as bad as a flop.

You know what I see here? I see Disney leaving behind the feature cells for good. That’s upsetting.

On a side note- This week saw Frog drop out of the top twenty.

Go see Princess and The Frog stop seeing Avatar.

Best Commercials of Super Bowl 44

February 9, 2010

Laying it down for you!
Please note! This is not “The Funniest Commercials of Super Bowl 44″ because film-making isn’t all laughs, buddy! This is a top 10, counting down to number 1 (The Best).

I think all-in-all this wasn’t the best year for Super Bowl commercials. A lot of people weren’t pleased with them.

But here we go, click on a brand to go to the company’s website, and  click on a commercials name to watch it on YouTube.

10. Coca-Cola with Hard Times featuring The Simpsons.

The Simpsons really have become American icons, with their own postage stamp, and now a testimony commercial in the Super Bowl. I really think it’s a neat concept, having animated characters say “This product is nice,”  but then again, Disney does that a lot… The commercial had a lot of action, and was very well animated. Also, if you notice, it also features a great piece of music. It had a lot of thought put through it, and it was a little funny.

9. Teleflora with Talking Valentine’s Day Flowers.

This one really caught my eye. Cubicle life is always fun to make jokes of.  (Think about Dilbert!) And it was great to see the little mini-moral of seeing the rude lady get the dead flowers. (LESSONS IN COMMERCIALS!?!?! FWOAH! WAVE OF TEH FUTURE!) With this one we see some great computer animation in the flowers, great integration/compositing. Of course Don Rickles voices the wilting bouquet, delivering a fabulous performance. The acting wasn’t second rate either (As you might see in some commercials) And yes, it was funny. (I’m doing a horrible job of proving my “Good commercials don’t HAVE to be funny” point…) This commercial also wins the award for worst title.

8. Snickers with Game.

It has a great thought behind it I suppose, but really, its just funny to watch old people get tackled. Next?

7.  Kia MotorsUntitled.

Great music, but not original. This commercial had a very large budget with so many fursuits and all the things the characters were doing. It was awesome to see someone use fursuits in such a major commercial. Then in the end we get the big reveal, very well thought-out.

6. Dove with The Journey to Comfort.

Probably the most re-written piece of music ever. The lyrics were great. Another large budget (If your going to pay that much  for an ad, make it good!) The Super Bowl played a 30-spot version of the ad, which is really surprising that they’d make two versions of something that is basically a music video.

5. Intel with Lunch Room.

This ad makes me wish my computer could give me lunch… or be that cute. (I actually do have an Intel Quad Core Processor).  Big budget with the computer animation of the robot, the beautiful animation of the flying logos near the end, and the computer model set. Great acting, wonderful writing. And honestly, I just love Intel’s new(-ish) stinger of all the employees saying “Pum. Pum pum pum pum!”

4. The United States Census Bureau with Pre-Production Meeting/Location.

Yay! A large amount of American tax dollars spent to show that our tax dollars will be wasted further by people who are sometimes clueless! YAY BUREAUCRATS! It’s really hard to deliver an ad making fun of yourself, but still have it be effective. The writing was genius–hilarious! I really loved it. The design was really great too. The little model on the table, the man’s glasses, the girl’s depressed voice as she gently touched the magazine ad! And in other news, our national debt raised $3.5 million.

3. Denny’s with Chickens Across America.

We saw three Denny’s ads (I thought this one was the best). The premise of the series (“Great day to be an American, bad day to be a chicken.”) is slightly cliché, but delivered greatly. I’m not gonna comment on the puppetry, but some of the footage in the background was great. It was a great, funny (sigh.) commercial.

2. Frito Lay (Doritos) with House Rules.

This one was hilarious. It was near the beginning of the bowl, I believe the second Doritos ad we saw. The foley isn’t believable if you watch it more then once, (Mostly, the slap) but it adds to the ad. The kid was amazing. True talent. I can honestly see this kid going somewhere. AND NOW: the best Super Bowl Commercial of 2010… wasn’t really a Super Bowl Commercial…

1. Google.com with Parisian Love. Google posted it on their YouTube account before the Super Bowl, but it aired during the Super Bowl so its in the running darn it! And seriously, how many people really saw it before The Super Bowl? But because it wasn’t created specifically for the Bowl, it probably had a lower budget. We don’t see that at all. It has brilliant writing, brilliant music, brilliant, brilliant, BRILLIANT! It shows us that commercials DON’T have to be funny, and honestly, this commercial could be made with a hyper-cam and a simple video editing software; in other words: any one could do this. Not a big budget, not complex, no big names, (No names at all, really…). This really is just a great commercial. Plus it’s probably the only commercial I have ever watched and said “Awww,” to.

So there  you have it folks! What are you’re favourites? Comment below!

Some  housekeeping news:

This blog has been added to The Blue Squid Productions Blogiverse, meaning links to posts are over on Blue Squid Productions’ Blog page on their new website.

Speaking of the Super Bowl, I’m starting an initiative, inspired by the Bowl, go check out The Saint’s Challenge on BlueSquidProductions.com, click here.

Until next time (Which I hope isn’t very long away) Keep on rolling those Frames of Film! Peace out!

The Future of Film-Making

February 7, 2010

Sorry I haven’t posted in… well… a long time, but things have been really busy in the world of Doug, between school and work and everything! But I wanted to post this post for quite a while, and so daggummit I’m doing it!

So, let’s discuss the premise of this post, in order to do that we’re going to discuss last weekend’s box office. The top five films are Avatar, Edge of Darkness, When in Rome, Tooth Fairy, and The Book of Eli.

Congratulations Doug: you can read! But stick with me, I’m actually making a point here! Those films came from 3 studios. The three studios that just happen to be some of the biggest: Fox, Warner Brothers, and Buena Vista (AKA Disney).

Big studios dominate the Box Office. Even Fall of 2009′s big Indie success: Paranormal Activity had a major distributor, Paramount.

My point: No one succeeds in B.O. except for Major Motion Pictures. I bet that Disney ALWAYS has something in the top ten.

You can throw out suggestions like “Those are the brands people know” or “It’s the celebrity of film-makers and stars.” But that’s not why.

It’s because the world (Especially America) is run by corporations. As much as the president tells us that America is all about small businesses: it’s not true.

We go to Wal-Mart and drive our Honda’s, and listen to our iPods, which we plug into our HP PC’s! It’s madness!

Before becoming Christian and starting my work for Christ in Blue Squid Productions I was writing a book called A World of Wal-Mart. All about how one corporation was going to rise up and eventually rule the world.

American Dream? Hard not.

But back to film-making.

I pretty much told you that none of us Indie film-makers have any chance out there. But no: I told you we had no chance at the Box Office. But where can we rule? No, not on home video, we can’t release Blu•Ray.

So where can we rule? The internet.

Well, sure, corporations like Disney can throw out an occasional Muppet viral video, but honestly, they aren’t touching the internet.

Think about people like The Brothers Chap, iJustine Ezarik, Rhett & Link, Shane Dawson, or Phil Vischer. These are people that live off of making movies, but they have never touched the Box Office (Well, Phil Vischer has, but that was in his last career.) They make money selling T-Shirts, running ads on their websites (or YouTube videos), etc.

Viral videos are gaining attention: but they don’t generate enough direct capital for a corporation’s time.

The future of film-making? It lies in YouTube, it lies in Podcasts and vlogs, it lies in Creative Commons, it lies in Flash Animation, it lies in me, in you: it lies in the vast amount of space we call The Internet.

Film Review: Disney’s The Princess & The Frog (2009)

December 12, 2009

I shall begin this collection and publication of thoughts with a quick splurge of characters and hitting my head on the keyboard: I LOVED IT I LOVED IT I LOVED IT I LOVED IT!sgafgawFWfETR12QEW`   1WER4WEFCQW!!!!

Alrighty then, on with the review!

I saw it on opening day, at one of the first showings in the state, I got to the movie theatre, and then sat outside for 10 to 20 minutes waiting for it to open. Got my ticket, and entered.

I was really, really, REALLY excited about this (I’ve been waiting since the first press release practically) so my review is definitely biased.

The animation was wonderful—although while reading the credits I saw that Ink & Paint and clean up was outsourced to two or three different studios (Didn’t catch the names—sorry!) and I also saw something that suggested they used rotoscoping, but I wasn’t sure, a darn usher decided I had read enough of the credits, so he walked right in front of us and started sweeping. And I don’t want to hear that he didn’t see us, because he had been staring at us before he was rude. But I just looked around his body and he moved.

A big kudos to Randy Newman for the music of the film. It’s funny, I’ve never heard any of his stuff except for his Pixar and Disney music. I loved it all (The Ne-Yo track wasn’t as good as it could have been, but if you’re a hip-hop fan, you’ll tap your toe to the tune—tongue twister!) I actually went home and got the soundtrack album. (Which does feature selections from the score!)

The movie was really funny, and was a visual feast. The character, and set design were fabulous. I just really loved everything. Especially, John Lasseter’s touch (Executive Producer). He’s an artist, and you could tell the suits didn’t interfere with the production much. I don’t want to spoil much, but it isn’t all happy smiley Disney gunk.

Well, go see it…NOW! I mean it! It was great. (But some people, believe it or not, don’t like princess movies. I know, a shocker)

Want me to review a film? Let me know!

Variety Subscription Method

December 10, 2009

I had a shock today. I haven’t gotten a chance to read my favorite newspaper all week: Variety.

I log onto my computer and head over to the Variety website, one of the headlines reads “Variety.com Behind Paywall

Basically the article says that the online version of Variety ain’t gonna be free any more. “After clicking on two pages of content at Variety.com, one in 10 randomly selected visitors will be prompted to register for further access.” It goes on (and this is the painful part) “Nonsubscribers may access only five pages of content in any given month… Current unaffected by the paywall includes the home page, headlines, brief article summaries, and search results.”

I wasn’t happy about it. I love Variety, so let’s take some time to analyze this.

First off: Variety is a business. Just like how Exxon can’t give away gas, Variety can’t give away news. It needs to make money.

But who does Variety mean the most to? Film geeks, and Independent Film-makers.

Most Indie Film-makers cannot afford to pay $248 for a newspaper, so they read it online. BUT NO MORE!

I understand why this is happening, and while I am not very happy about it, I know it’s necessary.

Onto some happier news, tomorrow I will be seeing Disney’s The Princess and The Frog! On opening day!!!! Expect a review Sunday (Screenplay writing on Saturday)

Box Office Boom!

December 5, 2009

The box office is at this AMAZING boom! I was reading Variety and learned something amazing! Check out this article:

Domestic ticket sales are up a healthy 8% over 2008, with the box office only days away from eclipsing 2008′s record-breaking haul of $9.64 billion in ticket sales.

Through Sunday, B.O. revs were $9.48 billion, only $175 million short of the record (figures calculated using Jan. 2 as the start date). Last year for the same period, domestic ticket sales were $8.78 billion.

Admissions also are running ahead of 2008 levels by more than 3%.

There’s no doubt that domestic ticket sales will jump the $10 billion mark, a key milestone for the film biz, between holdovers and the 2009 releases still waiting to bow, including Warner Bros.’ “Invictus,” 20th Century Fox’s “Avatar,” Warners’ “Sherlock Holmes” and Fox’s “Alvin and the Chipmunks: The Squeakuel.”

Historically, box office grosses reported by studios are not adjusted for inflation.

What’s fueling the boom? A diverse list of films have resonated with moviegoers who eager to get out of the house, yet find more affordable entertainment options.

The summer brought record revenues, but it was an unusually strong spring, and now fall, that are boosting the bottom line.

October and November saw revenues of $1.68 billion, up more than 11% over the $1.51 billion earned in October and November 2008.

This year, five movies released in those months having already grossed north of $100 million, with Summit Entertainment’s vampire romancer “New Moon” in the lead ($230.7 million through Sunday.)

The other titles are Sony’s “2012″ ($138.5 million), Universal’s “Couples Retreat” ($106.7 million), “Disney’s A Christmas Carol” ($104.9 million) and Warner Bros.’ “The Blind Side” ($102.2 million).

Paramount’s “Paranormal Activity” also holds a spot on the list, since it didn’t open nationwide until October. Pic’s domestic cume through Sunday was $107 million, putting it at No. 3 on the list of the top grossers of October and November.

Last year, only three titles had grossed more than $100 million through the end of November: DreamWorks Animation/Paramount’s “Madagascar: Escape 2 Africa” ($159.1 million), Sony’s “Quantum of Solace” ($141.4 million) and Summit’s “Twilight” ($119.7 million).

Strong fall box office, as well as the success of spring titles, could encourage distributors to spread out their releases, instead of loading down the summer months and winter holidays.

In recent years, the fall has generally been the specialty market’s territory. But this year, commercial titles are dominating and generating the headlines.

From Variety.com; click here.


So what does this mean? Well, let’s take a look.

We still have a long way to go.

Twilight is still going strong. It’s #2 on Box Office numbers, #1 on Domestic Box Office. Similar with Disney’s A Christmas Carol, but with Christmas Carol, we’ve yet to see the Holiday crowds. As we get closer to the holidays, more people will be open to seeing a Christmas film.

We also still have films that haven’t been released, but we can’t joke ourselves, they’ll be huge. Two films I thought about while pondering this were Alvin & The Chipmunks 2 and The Princess and The Frog. Chipmunks has cute fuzzy characters that are animated. Right there you have the recipe for success in the industry today. Looking at The Princess and The Frog this is a must-see for a lot of people. The name assigned to the title (Disney) drags in half the world. Every kid will want to see it, Disney geeks will want to see it, Film enthusiasts will want to see it, and Animation geeks will want to see it. Not to mention, its being released just before the holiday season, a deadly time for Indies, a glorious time for Majors.

How will this effect the future?

One line of this article really hit me: In recent years, the fall has generally been the specialty market’s territory. But this year, commercial titles are dominating and generating the headlines. Variety focused on Major Distributors here, but it seems they ignored someone else: The independents.

This boom will draw more distributors to fall and spring releases, and if their are more major films, that means the Independent film-makers are going to have a harder time.

I read the article, and I was excited, then I thought about this.

My brother is fresh out of trade school is looking for a job– every employee wants experience. There are next to no jobs for a noob. This spring/fall film boom is the same: everyone will want to see the movie with brand recognition. You’ll either have to get lucky, like Paranormal Activity-Type-of-Lucky, or have an established brand- in short, this is great news for Disney, 20th Century, Sony, etc. But what about everybody else?

This might lead more indies away from theatrical releases towards DVD, television, and internet release, because the film industry may be closing up. And so I’m glad for this but:

I hope it doesn’t happen again.

Perhaps next year will lead to just not as much income, let the major brands keep going for Summer.

Taking a peak on the other side, if Disney releases a new animated movie in Summer it will make a boatload. If Disney releases a new animated movie in Fall it will make a boatload.

What’s the difference? Dick Cook drives a yacht, and he won’t settle for a tugboatload, or a speedboatload, he wants a yachtload. I am going to stop now before I take the analogy too far.

Let’s look in perspective

As the above article stated, a large deal of this B.O. income came from a few select films that broke 1 Million Dollars. Let’s take Twilight: New Moon out of the picture, now instead of being at about 9 million, it’d be about 7. That is a big difference (Well, to me, but Dick Cook may have a different definition of “big”). So, NOBODY should be getting to cocky, except for Stephanie Meyers.

A Closing Note–

How to make a film successful so you can compete with the Majors next year!

  • Include cuddly animated creatures. (Chipmunks)
  • Include an attractive heroine in tight clothes: make her run a lot. (Transformers)
  • Any ripped men should be half-naked and fuzzy. (Twilight 2)
  • Throw Satan. the apocalypse, and a couple with an odd situation in their for good measure (Paranormal Activity, 2012, and Couple’s Retreat OR The Proposal- you pick!)

HAH! Disney’s got nothing on us now!!!!

Well, I’ve gotta go write a screenplay featuring 4 certain concepts, so until next time: Keep Rolling Those Frames of Film!

Nice tagline, eh?

On Art

November 17, 2009

The other day I made a post on my other blog about art.

Its not just about film and its pretty Christian, so I decided to put it over there, but check it out: Click here!

Silence.

November 16, 2009

This post will be a little different then the past few, because I am not going to be doing a movie review. I’m going to discuss a topic of film. But I’ll have a lot coming soon, I’ve recently watched all 6 Star Wars films and I’m working I’m way through the 4 Indiana Jones films (Watched 2 yesterday)

Now one more thing before I get into the meat of this post: I think I’m going to shift this blog to podcast format. I love podcasts, and I really think there needs to be one for film geeks. People that like making movies, or maybe just people who like watching them a lot. So what do you guys think about that? I would still blog, just not as much, and I would blog about different things. I just want to talk about movies and write about them.

Now onto the post.

When I started this blog I wanted it to be focused on film reviews and the art of film-making. As a film-maker, when I have a challenge, I could have this, this blog, (Podcast?) to spew out to, which brings us to what my challange is.

Silence.

Yes, silence. Silent films are amazing, and I could easily justify the unimportance of dialog. Look at blockbuster hits like last year’s WALL·E. That film had no dialog for the first 40 minutes. Did audiences get antsy? Not really.

Silent films don’t mean completly silent, that would be boring. they silmply are films without dialog. Expression of story is shown through title cards, body language, music, etc. I’d say it’s a pretty good excercise for anyone to work “silently” good for actors, good for directors, screenwriters, and composers.

So today I started writing a silent screenplay, and it was quite a challange. It’s a short film, and all the beats are worked out (For the most part). I wrote a scene easy-peasy. Then I began another, and I limped through it. Its a challange. As a screenwriter I’ve never been faced with anything hard except for blank page syndrome (Writer’s Block).

Its a hurdle I’ll have to face, because I want to see this finished! I’ll update you guys on my status as well as bring you any tips I find. Before I go, here’s a little list of ways to move the story along or express emotion.

  • Camera angles- the expression of camera angles is a very underplayed method of film-making. Symbolism in your shots can very much help you out.
  • Signs- title cards are great to start out a scene, but what in the middle of the beat? Signs! Could be webpages, restauraunt and store welcome signs, billboards, text messages, emails.
  • Pans and dollys- this one is espcially important in kid’s films. Don’t let your film drag, have the camera move frequently.

That’s what I’ve got for you guys now, when I’m done with the screenplay, I’ll post it up here for you guys to read!

Be sure to comment what you think about the podcast idea!

The Little Mermaid (1989)

October 26, 2009

QUICK NOTE: I won’t be around much, but I will still be posting on Twitter. My computer is dead, for more information check out my other blog.

The Walt Disney Company has temporailily forgotten how to make animated films… Fast forward a few years to the late 80′s, One of the most iconic pictures the company has ever produced began the second golden era of Disney Animation (or Disney Renaissance.) For those of you who are not Disneyphiles, and for those of you who didn’t read the title of the post, the film I am referring to is the Walt Disney Company’s 1989 smash hit, The Little Mermaid.

The great 1988 picture, Who Framed Roger Rabbit?, breathed life back into the feature animation studio, and they now knew they could make a feature again. The pulled off an idea that Walt Disney had actually begun to develop decades earlier, right after Snow White & The 7 Dwarfs, they took what Walt had, and built on it.

The screenplay is notable, as it grew from a 2 page treatment, then the dscovbered Walt’s notes, and then a 20-page rough draft. The film was ready to roll and screenwriters began to pen the script, but production stopped as the studio started work on Oliver & Company, and the afforementioned Who Framed Roger Rabbit?.

But enough back story: onto the movie!

The music was composed by Alan Menkan, one of my favourite composers, and lyrics were penned by Howard Ashman. The team of Menkan-Ashman went on to write tons of films together, including a few more for Disney.

The film (of course) showcases some brilliant animation. An important note to make is the movement of hair underwater. Occaisonally the hair moves and adds a small accent to the film, but for a great majority of the time spent underwater, the hair acts naturally. This never calls into question the realism of the film, and when the hair does float, it does not distract from the dialog and key action.

The animators also used live action references (I can only imagine Jodi Benson trying to deliver lines from a giant pool) but I don’t see anything on rotoscoping.

Another interesting note on animation is the select use of CAPS (Computer Animation Production System) which eliminates the needs for cells in traditional animation as well as serves as an aid to ink and painting. (Think layered flash) And with CAPS coming into the company Walt Disney’s multiplane camera leaves.

We also see some wonderful integrated CGI animation. While wonderful for the time period, it shows the world still had a lot to learn about lighting.

The film grossed $183,355,863, an amazing return for their $84,355,863 investment, recieving over 1 million dollars. In the films opening weekend, it recieved $6,065,716, and this film clearly shows that box office sales on opening weekend are not the whole film. Nearly everyweek following that, sales increased. (By the way, if any of MY films made $6,065,716, I’d be happy…)

One last note: the film was re-released in 1997. Not in 3-D, probably not very many optical upgrades, and still made a killing. This clearly shows iconic films, no matter home video sales, will do great in a re-release, but the question we see know is: Define “Iconic”

It’s a great film, and if you’re animating underwater, it’s a must-see for refereneces, and sha-la-la-la-la-la-la don’t be shy, come one and leave a comment!

Good night Hollywood! I’m doug Hanna, and I’ll be here ’til Friday!


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