The Manson Brothers Show, which is hosted by the writers/stars of the horror comedy The Manson Brothers Midnight Zombie Massacre – Chris Margetis (Stone Manson) and Mike Carey (Skull Manson) – got its start a couple weeks ago with an episode in which the boys looked back at the 1976 classic The Omen… and also discussed tortilla soup, Iron Maiden, and the wrestling word of the week. Last week, they revisited John Carpenter’s The Fog. And in the new episode that has just arrived online, they’re discussing writer/director Don Coscarelli’s 1979 mind-bender Phantasm (get it Here). To find out what they think of the movie – as well as other assorted topics – check out the video embedded above!
Here’s some information on The Manson Brothers Show: At long last, The Manson Brothers (Stone and Skull Manson) bring their lunacy to The Arrow in the Head Show YouTube Channel! The...
Here’s some information on The Manson Brothers Show: At long last, The Manson Brothers (Stone and Skull Manson) bring their lunacy to The Arrow in the Head Show YouTube Channel! The...
- 12/12/2022
- by Cody Hamman
- JoBlo.com
The 21st annual Art Directors Guild Awards took place on Saturday (Jan. 27). These kudos have a stellar record at previewing the outcome of the Best Production Design race at the Academy Awards. Over the first two decades of these prizes, the eventual Oscar winner has always numbered among the Adg nominees in the various categories.
Period film contender “The Shape of Water” is locked in a tight race with fantasy film nominee “Blade Runner 2049” to win the Oscar for Best Production Design according to our predictions. Two other period film nominees that are set in WWII — “Darkest Hour” and “Dunkirk” — sit in third and fourth place respectively — while fantasy contender “Beauty and the Beast” rounds out our top five predicted Oscar nominees.
Already the frontrunner for Best Production Design at the Oscars, “The Shape of Water” won in period over fellow Oscar nominees “Darkest Hour” and “Dunkirk.” That race...
Period film contender “The Shape of Water” is locked in a tight race with fantasy film nominee “Blade Runner 2049” to win the Oscar for Best Production Design according to our predictions. Two other period film nominees that are set in WWII — “Darkest Hour” and “Dunkirk” — sit in third and fourth place respectively — while fantasy contender “Beauty and the Beast” rounds out our top five predicted Oscar nominees.
Already the frontrunner for Best Production Design at the Oscars, “The Shape of Water” won in period over fellow Oscar nominees “Darkest Hour” and “Dunkirk.” That race...
- 1/28/2018
- by Zach Laws
- Gold Derby
Animated feature films were included for the first time this year, Coco among them.
The Art Directors Guild has announced nominations for the 22nd Annual Excellence in Production Design Awards in multiple categories including features, television, and commercials.
Nominees in the feature film categories include Darkest Hour, The Shape Of Water, Downsizing, Get Out, and Lady Bird.
Among the television nominees are this year’s Emmy stand-outs The Handmaid’s Tale and Game Of Thrones.
Animated feature films were included in the nominations for the first time this year and include top-earning titles Cars 3, Coco, and Despicable Me 3.
The Awards Gala is set for January 27 at the Ray Dolby Ballroom at Hollywood and Highland.
Excellence In Production Design For A Feature Film Period Film
Darkest Hour, Sarah Greenwood
Dunkirk, Nathan Crowley
Murder On The Orient Express, Jim Clay
The Post, Rick Carter
The Shape Of Water, Paul Denham Austerberry
Fantasy Film
Beauty And The Beast, Sarah...
The Art Directors Guild has announced nominations for the 22nd Annual Excellence in Production Design Awards in multiple categories including features, television, and commercials.
Nominees in the feature film categories include Darkest Hour, The Shape Of Water, Downsizing, Get Out, and Lady Bird.
Among the television nominees are this year’s Emmy stand-outs The Handmaid’s Tale and Game Of Thrones.
Animated feature films were included in the nominations for the first time this year and include top-earning titles Cars 3, Coco, and Despicable Me 3.
The Awards Gala is set for January 27 at the Ray Dolby Ballroom at Hollywood and Highland.
Excellence In Production Design For A Feature Film Period Film
Darkest Hour, Sarah Greenwood
Dunkirk, Nathan Crowley
Murder On The Orient Express, Jim Clay
The Post, Rick Carter
The Shape Of Water, Paul Denham Austerberry
Fantasy Film
Beauty And The Beast, Sarah...
- 1/5/2018
- by Elbert Wyche
- ScreenDaily
While we wait for Pixar to finish up a prequel to Monsters Inc and ready their next original project for 2014, titled The Good Dinosaur, we also still continue to mourn the loss of one of their "cancelled" projects - Newt. The film was originally scheduled for the summer of 2011 then was cancelled (in place of Cars 2) due to similarities to Rio. Essentially, it's about a blue-footed newt, a tiny little salamander, who finds the one remaining mate of his species. We first posted some beautiful concept art back in 2010, but an illustrator named Katy Wu has recently posted her set of concept art for the project and it's stunning. Gorgeous work. The blog post by Katy Wu (found via The Pixar Times) states simply: "I started working at Pixar in 2009 on a feature film directed by Gary Rystrom and production designed by Bill Cone. The film ...
- 1/3/2013
- by Alex Billington
- firstshowing.net
"Toy Story 2" is a triumph at every level. In its third feature film -- following the totally delightful "Toy Story" and "A Bug's Life" -- Pixar Animation Studios has raised the bar considerably in terms of wit, character development, storytelling and computer technology. Pixar and its partner Walt Disney Studios can look forward to a tremendous worldwide success with this very funny, clever and original film.
"Toy Story 2" does what few sequels ever do: Instead of essentially remaking an earlier film and deeming it a sequel, the creative team, led by director John Lasseter, delves deeper into their characters while retaining the fun spirit of the original film.
The film begins in a familiar setting: young Andy's upstairs bedroom, where his toys come alive only when their owner is absent. Woody, the cowboy doll (voiced by Tom Hanks), is now best buddies with his rival from the first film, the high-tech space ranger Buzz Lightyear (Tim Allen). The story springs to life when Woody gets "kidnapped" by Al McWhiggin (Wayne Knight), a toy store owner who recognizes Woody's value as a collectible.
This launches the toys into adventures in many new environments: bustling downtown streets, Al's cavernous toy store, his 23-story high-rise art deco apartment building including its forbidding elevator shaft and, in perhaps the wildest set, an airport baggage-handling area whose myriad conveyer belts act like a gigantic amusement park ride.
Woody's kidnapping opens up a whole new world to him: He discovers he was a toy that derived from a 1950s black-and-white TV show called "Woody's Roundup". And he has a previously unknown family in Jessie the cowgirl (Joan Cusack), his horse Bullseye and Stinky Pete the prospector (Kelsey Grammer).
So while Buzz and the other toys -- Mr. Potato Head (Don Rickles), Slinky Dog (Jim Varney), Rex (Wallace Shawn) and Hamm (John Ratzenberger) -- plunge into various escapades to rescue their purloined pal, Woody must decide whether he wants to return to Andy's room (with the full knowledge that Andy will one day grow up and get rid of his toys) or remain forever with his new family as collectibles in a Japanese museum.
So, as with the original film, "Toy Story 2" is a meditation on the value of friendship and fears of abandonment -- things that concern children and adults alike.
The design of the characters and their interactions with their world is infinitely more sophisticated than it was a mere four years ago. The camera is more fluid, with less cutting to express movement. And the rendering of human characters -- in particular Al and the Cleaner (Jonathan Harris), who restores old dolls -- represents a quantum leap in computer technology.
Humans have always been the most difficult to portray with computer animation. Pixar's animators, who began experimenting with humans in their 1997 Oscar-winning short "Geri's Game", have now succeeded in creating human figures with realistic facial and muscle movements.
The screenplay by Andrew Stanton, Rita Hsiao and Doug Chamberlin & Chris Webb never lets up in its action or humor. (Most appealingly, one tends to feed the other.) In the toy store sequence, for instance, Andy's gang joy rides in a toy car, Buzz Lightyear has a startling encounter with a vast wall of Buzz Lightyear dolls, some very hip Barbie dolls swing into action, and Buzz's nemesis, the evil Emperor Zurg (Andrew Stanton), gets activated.
The action only slows once, for a ballad by Jessie (penned by Randy Newman and performed by Grammy winner Sarah McLachlan) that may cause young children to grow a tad restless.
Pixar's animators have once again drawn characters that fit their voice artist to perfection. (Is Hanks starting to look like Woody, or is it the other way around?) Given the wealth of toy characters and a 93-minute running time, it's amazing how swiftly the audience becomes familiar with all these personalities and their idiosyncrasies.
Add to this the army of artists needed to produce such a film, and you can't help being impressed at how seamless the unity of purpose is behind this film.
At the close of the century, it's certainly fair to say that in terms of feature animation, "Toy Story 2" is as good as it gets.
TOY STORY 2
Buena Vista Pictures
Walt Disney Pictures presents
a Pixar Animation Studios film
Producers: Helene Plotkin, Karen Robert Jackson
Director: John Lasseter
Co-directors: Lee Unkrich, Ash Brannon
Writers: Andrew Stanton, Rita Hsiao, Doug Chamberlin & Chris Webb
Story: John Lasseter, Pete Docter, Ash Brannon, Andrew Stanton
Screenplay: Andrew Stanton, Rita Hsiao, Doug Chamberlain & Chris Webb
Executive producer: Sarah McArthur
Director of photography: Sharon Calahan
Production designers: William Cone, Jim Pearson
Music: Randy Newman
Editors: Edie Bleiman, David Ian Salter, Lee Unkrich
Supervising technical director: Galyn Susman
Color/stereo
Cast:
Woody: Tom Hanks
Buzz Lightyear: Tim Allen
Jessie: Joan Cusack
Prospector: Kelsey Grammer
Mr. Potato Head: Don Rickles
Slinky Dog: Jim Varney
Rex: Wallace Shawn
Hamm: John Ratzenberger
Bo Peep: Annie Potts
Al McWhiggin: Wayne Knight
Running time -- 93 minutes
MPAA rating: G...
"Toy Story 2" does what few sequels ever do: Instead of essentially remaking an earlier film and deeming it a sequel, the creative team, led by director John Lasseter, delves deeper into their characters while retaining the fun spirit of the original film.
The film begins in a familiar setting: young Andy's upstairs bedroom, where his toys come alive only when their owner is absent. Woody, the cowboy doll (voiced by Tom Hanks), is now best buddies with his rival from the first film, the high-tech space ranger Buzz Lightyear (Tim Allen). The story springs to life when Woody gets "kidnapped" by Al McWhiggin (Wayne Knight), a toy store owner who recognizes Woody's value as a collectible.
This launches the toys into adventures in many new environments: bustling downtown streets, Al's cavernous toy store, his 23-story high-rise art deco apartment building including its forbidding elevator shaft and, in perhaps the wildest set, an airport baggage-handling area whose myriad conveyer belts act like a gigantic amusement park ride.
Woody's kidnapping opens up a whole new world to him: He discovers he was a toy that derived from a 1950s black-and-white TV show called "Woody's Roundup". And he has a previously unknown family in Jessie the cowgirl (Joan Cusack), his horse Bullseye and Stinky Pete the prospector (Kelsey Grammer).
So while Buzz and the other toys -- Mr. Potato Head (Don Rickles), Slinky Dog (Jim Varney), Rex (Wallace Shawn) and Hamm (John Ratzenberger) -- plunge into various escapades to rescue their purloined pal, Woody must decide whether he wants to return to Andy's room (with the full knowledge that Andy will one day grow up and get rid of his toys) or remain forever with his new family as collectibles in a Japanese museum.
So, as with the original film, "Toy Story 2" is a meditation on the value of friendship and fears of abandonment -- things that concern children and adults alike.
The design of the characters and their interactions with their world is infinitely more sophisticated than it was a mere four years ago. The camera is more fluid, with less cutting to express movement. And the rendering of human characters -- in particular Al and the Cleaner (Jonathan Harris), who restores old dolls -- represents a quantum leap in computer technology.
Humans have always been the most difficult to portray with computer animation. Pixar's animators, who began experimenting with humans in their 1997 Oscar-winning short "Geri's Game", have now succeeded in creating human figures with realistic facial and muscle movements.
The screenplay by Andrew Stanton, Rita Hsiao and Doug Chamberlin & Chris Webb never lets up in its action or humor. (Most appealingly, one tends to feed the other.) In the toy store sequence, for instance, Andy's gang joy rides in a toy car, Buzz Lightyear has a startling encounter with a vast wall of Buzz Lightyear dolls, some very hip Barbie dolls swing into action, and Buzz's nemesis, the evil Emperor Zurg (Andrew Stanton), gets activated.
The action only slows once, for a ballad by Jessie (penned by Randy Newman and performed by Grammy winner Sarah McLachlan) that may cause young children to grow a tad restless.
Pixar's animators have once again drawn characters that fit their voice artist to perfection. (Is Hanks starting to look like Woody, or is it the other way around?) Given the wealth of toy characters and a 93-minute running time, it's amazing how swiftly the audience becomes familiar with all these personalities and their idiosyncrasies.
Add to this the army of artists needed to produce such a film, and you can't help being impressed at how seamless the unity of purpose is behind this film.
At the close of the century, it's certainly fair to say that in terms of feature animation, "Toy Story 2" is as good as it gets.
TOY STORY 2
Buena Vista Pictures
Walt Disney Pictures presents
a Pixar Animation Studios film
Producers: Helene Plotkin, Karen Robert Jackson
Director: John Lasseter
Co-directors: Lee Unkrich, Ash Brannon
Writers: Andrew Stanton, Rita Hsiao, Doug Chamberlin & Chris Webb
Story: John Lasseter, Pete Docter, Ash Brannon, Andrew Stanton
Screenplay: Andrew Stanton, Rita Hsiao, Doug Chamberlain & Chris Webb
Executive producer: Sarah McArthur
Director of photography: Sharon Calahan
Production designers: William Cone, Jim Pearson
Music: Randy Newman
Editors: Edie Bleiman, David Ian Salter, Lee Unkrich
Supervising technical director: Galyn Susman
Color/stereo
Cast:
Woody: Tom Hanks
Buzz Lightyear: Tim Allen
Jessie: Joan Cusack
Prospector: Kelsey Grammer
Mr. Potato Head: Don Rickles
Slinky Dog: Jim Varney
Rex: Wallace Shawn
Hamm: John Ratzenberger
Bo Peep: Annie Potts
Al McWhiggin: Wayne Knight
Running time -- 93 minutes
MPAA rating: G...
- 11/18/1999
- The Hollywood Reporter - Movie News
It may be the year that the bug saved Hollywood, with Disney's splendid "A Bug's Life" overtaking the DreamWorks hit "Antz" to climb to the top of the boxoffice hill.
A dazzling, embracing computer-animated feature from Pixar, "A Bug's Life" should soar to holiday heights, much to the level that Pixar's "Toy Story" ascended three Thanksgivings ago. This splendid offering should be able to carry $200 million domestically on its back, no sweat, and with no end in sight for its worldly potential.
As you know in the ant world, life is no picnic. In this subterranean saga, the ants of Ants Island toil for the man -- namely Hopper (voice of Kevin Spacey), the intimidating leader of the grasshoppers, who, in this insect universe, are akin to the marauding colonialists. Each summer, the legions of ants toil earnestly and without complaint, planting and harvesting the crops and then turning the bounty over to the hated 'hoppers. Fortunately, there's one crackpot ant, Flik (Dave Foley), who doesn't go along with the lock-step society. He's no revolutionary idealogue, but Flik sees that there's definitely something wrong with this picture. Why are we working for the man? Why not keep the crop ourselves? In short, Flik's the sort of cutting-edge thinker who in the human world might win an election in the state of Minnesota.
Unfortunately, as in real life, change is not wholeheartedly embraced -- not by the worker-ant class and certainly not by the dominating grasshoppers. But that's where the fun is as the flaky Flik takes it upon his fluttery wings to take on the grasshoppers. In a nutty undertaking with all the crazy inspiration of a Preston Sturges-like battleground, Flik mistakenly enlists the assistance of a traveling theatrical troupe (out-of-work screwballs, mainly) to provide the military defense against the thundering hordes of grasshoppers.
What's best about this bug story is that it's so wiggy -- it's rambunctious, spirited, funny, kindly and goofy all at once. A whole vat of chocolate picnic goodies to the screenwriters (Andrew Stanton and Donald McEnery & Bob Shaw) for the lively, screwy retooling of, basically, the Aesop fable about a carefree grasshopper. And the story line will appeal to everyone from tots to those who were born way before "Snow White" even spun her animated magic.
What's truly magical, as it was in "Toy Story", is the stupendous computer-animated imagery. "Bug"'s look is simply eye-popping: From the translucent sheen to the framings to the kaleidoscopic grandeur of the mammoth crowd shots of ants, the visuals are a delicious treat. The animation is truly a work of wizardry, from the rectilinear compositions to the characters' incredibly lifelike physical movements. One suspects that a team of entomologists and anatomy professors guided the animators, so crisp and natural are the true-to-bug body movements. Director John Lasseter, along with co-director Stanton, have indeed marshalled a virtual army of talented artists -- from animators to musicians to vocalists -- and attained a creative height that is leaps and bounds above even the most persnickety techie expectations.
Credit director of photography Sharon Calahan for the wonderfully punchy framings and supervising film editor Lee Unkrich for the blazing pacing. There's nary an empty mini-frame or missed mini-moment in this entire magnificence. So packed is the look -- thanks to the creativity of production designer William Cone and art directors Bob Pauley and Tia Kratter -- that one definitely wants to savor the detail-juiced excellency another time.
It's not all in the look but in the sounds as well. The vocalists are a treat, especially Spacey as the belligerently threatening lead grasshopper. Foley's energetic and appealing vocals as the flibberty-jibbet Flik are wonderfully appealing, while Phyllis Diller's nasally hauteur is perfect for her role as the queen. Cheers also for the contributions of Julia Louis-Dreyfus, Hayden Panettiere, Richard Kind and David Hyde Pierce for their perfect, peccadilloed performances.
The late Roddy McDowall makes a pleasing turn as a council ant, while Edie McClurg adds some screwy spice as another ants council-ite. A plate of ketchup drippings and dollops of mayonnaise to Joe Ranft who does a delicious turn as a comic caterpillar.
Not exactly hiding in the grass is the bouncy music courtesy of Randy Newman, whose "The Time of Your Life" nicely synthesizes the experience one enjoys in this "Bug's Life".
A BUG'S LIFE
Buena Vista
Walt Disney Pictures
A Pixar Animation Studios Film
Director: John Lasseter
Co-director: Andrew Stanton
Producers: Darla K. Anderson, Kevin Reher
Screenwriters: Andrew Stanton, Donald McEnery & Bob Shaw
Original story: John Lasseter, Andrew Stanton, Joe Ranft
Director of photography: Sharon Calahan
Production designer: William Cone
Story supervisor: Joe Ranft
Supervising film editor: Lee Unkrich
Supervising technical directors: William Reeves, Eben Ostby
Art directors: Tia W. Kratter, Bob Pauley
Supervising animators: Glenn McQueen, Rich Quade
Shading supervisor: Rick Sayre
Sound designer: Gary Rydstrom
Production supervisor (technical): Graham Walters
Production supervisor (editorial): Bill Kinder
Story-art-layout: BZ Petroff
Executive music producer: Chris Montan
Casting: Ruth Lambert, Mary Hidalgo
Color/Stereo
Voices:
Flik: Dave Foley
Hopper: Kevin Spacey
Princess Atta: Julia Louis-Dreyfus
Dot: Hayden Panettiere
Queen: Phyllis Diller
Molt: Richard Kind
Slim: David Hyde Pierce
Heimlich: Joe Ranft
Francis: Denis Leary
Running time -- 94 minutes
MPAA rating: G...
A dazzling, embracing computer-animated feature from Pixar, "A Bug's Life" should soar to holiday heights, much to the level that Pixar's "Toy Story" ascended three Thanksgivings ago. This splendid offering should be able to carry $200 million domestically on its back, no sweat, and with no end in sight for its worldly potential.
As you know in the ant world, life is no picnic. In this subterranean saga, the ants of Ants Island toil for the man -- namely Hopper (voice of Kevin Spacey), the intimidating leader of the grasshoppers, who, in this insect universe, are akin to the marauding colonialists. Each summer, the legions of ants toil earnestly and without complaint, planting and harvesting the crops and then turning the bounty over to the hated 'hoppers. Fortunately, there's one crackpot ant, Flik (Dave Foley), who doesn't go along with the lock-step society. He's no revolutionary idealogue, but Flik sees that there's definitely something wrong with this picture. Why are we working for the man? Why not keep the crop ourselves? In short, Flik's the sort of cutting-edge thinker who in the human world might win an election in the state of Minnesota.
Unfortunately, as in real life, change is not wholeheartedly embraced -- not by the worker-ant class and certainly not by the dominating grasshoppers. But that's where the fun is as the flaky Flik takes it upon his fluttery wings to take on the grasshoppers. In a nutty undertaking with all the crazy inspiration of a Preston Sturges-like battleground, Flik mistakenly enlists the assistance of a traveling theatrical troupe (out-of-work screwballs, mainly) to provide the military defense against the thundering hordes of grasshoppers.
What's best about this bug story is that it's so wiggy -- it's rambunctious, spirited, funny, kindly and goofy all at once. A whole vat of chocolate picnic goodies to the screenwriters (Andrew Stanton and Donald McEnery & Bob Shaw) for the lively, screwy retooling of, basically, the Aesop fable about a carefree grasshopper. And the story line will appeal to everyone from tots to those who were born way before "Snow White" even spun her animated magic.
What's truly magical, as it was in "Toy Story", is the stupendous computer-animated imagery. "Bug"'s look is simply eye-popping: From the translucent sheen to the framings to the kaleidoscopic grandeur of the mammoth crowd shots of ants, the visuals are a delicious treat. The animation is truly a work of wizardry, from the rectilinear compositions to the characters' incredibly lifelike physical movements. One suspects that a team of entomologists and anatomy professors guided the animators, so crisp and natural are the true-to-bug body movements. Director John Lasseter, along with co-director Stanton, have indeed marshalled a virtual army of talented artists -- from animators to musicians to vocalists -- and attained a creative height that is leaps and bounds above even the most persnickety techie expectations.
Credit director of photography Sharon Calahan for the wonderfully punchy framings and supervising film editor Lee Unkrich for the blazing pacing. There's nary an empty mini-frame or missed mini-moment in this entire magnificence. So packed is the look -- thanks to the creativity of production designer William Cone and art directors Bob Pauley and Tia Kratter -- that one definitely wants to savor the detail-juiced excellency another time.
It's not all in the look but in the sounds as well. The vocalists are a treat, especially Spacey as the belligerently threatening lead grasshopper. Foley's energetic and appealing vocals as the flibberty-jibbet Flik are wonderfully appealing, while Phyllis Diller's nasally hauteur is perfect for her role as the queen. Cheers also for the contributions of Julia Louis-Dreyfus, Hayden Panettiere, Richard Kind and David Hyde Pierce for their perfect, peccadilloed performances.
The late Roddy McDowall makes a pleasing turn as a council ant, while Edie McClurg adds some screwy spice as another ants council-ite. A plate of ketchup drippings and dollops of mayonnaise to Joe Ranft who does a delicious turn as a comic caterpillar.
Not exactly hiding in the grass is the bouncy music courtesy of Randy Newman, whose "The Time of Your Life" nicely synthesizes the experience one enjoys in this "Bug's Life".
A BUG'S LIFE
Buena Vista
Walt Disney Pictures
A Pixar Animation Studios Film
Director: John Lasseter
Co-director: Andrew Stanton
Producers: Darla K. Anderson, Kevin Reher
Screenwriters: Andrew Stanton, Donald McEnery & Bob Shaw
Original story: John Lasseter, Andrew Stanton, Joe Ranft
Director of photography: Sharon Calahan
Production designer: William Cone
Story supervisor: Joe Ranft
Supervising film editor: Lee Unkrich
Supervising technical directors: William Reeves, Eben Ostby
Art directors: Tia W. Kratter, Bob Pauley
Supervising animators: Glenn McQueen, Rich Quade
Shading supervisor: Rick Sayre
Sound designer: Gary Rydstrom
Production supervisor (technical): Graham Walters
Production supervisor (editorial): Bill Kinder
Story-art-layout: BZ Petroff
Executive music producer: Chris Montan
Casting: Ruth Lambert, Mary Hidalgo
Color/Stereo
Voices:
Flik: Dave Foley
Hopper: Kevin Spacey
Princess Atta: Julia Louis-Dreyfus
Dot: Hayden Panettiere
Queen: Phyllis Diller
Molt: Richard Kind
Slim: David Hyde Pierce
Heimlich: Joe Ranft
Francis: Denis Leary
Running time -- 94 minutes
MPAA rating: G...
- 11/13/1998
- The Hollywood Reporter - Movie News
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