Posted 28 August, 2009 in MI News
BY KATHERINE YUNG • FREE PRESS BUSINESS WRITER • July 21, 2009
Watching crews do a midnight filming of a burning house north of Chelsea for the Robert DeNiro thriller “Stone.” Delivering a speech at the 50th anniversary celebration of “Anatomy of a Murder,” the 1959 James Stewart drama filmed in Marquette. Running an office in Michigan where the telephone doesn’t stop ringing.
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For Janet Lockwood, the longtime director of the Michigan Film Office, 2009 is turning out to be one of the most exciting years for making movies in the state she loves. Lockwood expects 45 or 50 productions to film in Michigan this year, up from 35 in 2008. The increase is the result of the state’s tax incentives for film, TV and digital media productions, the most generous in the nation.
In an interview, Lockwood shared her thoughts about one of the state’s growing industries.
QUESTION: How is Michigan’s film industry faring?
ANSWER: I am expecting quite a few films this summer. (She wouldn’t drop any names.) There are much more quality applications this year. It’s a little slower than some people thought, but that’s because of the economy.
Q: We have several production studios coming soon. Is there anything else the state needs in … infrastructure?
A: More equipment. We run out of that stuff very quickly, and it comes from out of state. We are out of stuff. I want more crews. I want more equipment. I want more films. I am quite greedy.
Q: Are the incentives in any danger of being eliminated?
A: I see them in no danger of being eliminated. They are the shiny spot on the map right now. There is a small contingent in the Legislature that supports capping them. It doesn’t look real strong to me at this minute.
Q: What is your response to criticism that the state is paying out more than it gains?
A: They are just counting sales and income taxes. They don’t count spending on hotels, rental cars, lumberyards, florists, etc. … The gain far exceeds the cost.
Q: What part of the state has benefitted the most?
A: The big winner is metro Detroit. Grand Rapids has made a few bucks. Ann Arbor is a popular, popular place. The hotels there are happy as clams.
http://www.freep.com/article/20090721/BUSINESS06/907210335/And-the-winner-is…metro-Detroit
Posted 27 August, 2009 in MI News
Lockwood locks up Hollywood productions
By KATHY A. MCDONALD
Michigan’s status as flyover country is quickly changing. The state’s year-old production incentive program has lured Hollywood types, and its film commissions have risen to the task.
First stop is the Michigan Film Office, led by Janet Lockwood, which reviews scripts and approves incentive applications. “Michigan does not have to play Michigan,” advises Lockwood. “We play the world.”
She adds that two fulltime location scouts are on staff and available for up to two days of free location scouting anywhere in the state.
Another resource is Film Detroit, a unit of the Detroit Metro Convention and Visitors Bureau. It covers Motown and surrounding counties, home to about two-thirds of the features produced in Michigan since the tax credits began.
“We’re known as the go-to people,” says Film Detroit senior VP Chris Baum. “Our only motivation is that productions have a great experience.”
Per Baum, producers are usually surprised by the area’s variety of locations, from inner city to upscale suburbs to rural farm areas.
In the city of Detroit, the mayor’s office expedites film permits and coordinates city services, explains Erica Hill, exec assistant to the mayor. While there are no city film permit fees, expenses are incurred if the police or fire departments are involved. Next up for the Motor City: MGM/UA’s “Red Dawn” remake.
Smaller communities like Grand Rapids, Kalamazoo and Traverse City (home to Michael Moore’s annual film festival), also attract location work.
“Generally speaking, the bulk of productions have been in the Detroit area but that will change as producers’ comfort level develops with local crews,” says Lockwood.
Rick Hert of the West Michigan Film Office — whose duties vary from arranging VIP pick-ups at the Grand Rapids airport to finding vacant industrial spaces suitable for interiors — says all the state film organizations cooperate to bring production to the state. “Genesis Code” is now lensing in Grand Rapids with “Tribes of October” coming up.
Another priority for all the film offices: infrastructure and an experienced crew. Several soundstages are in development. Among them: Raleigh Michigan Studios (see main story); Detroit’s 23rd Studios; and Unity Studios in the town of Allen Park. “The real key is that all will have a jobs-training component,” says Baum.
Also advancing studio and workforce development is Wayne County Film Commission director of film initiatives Mike Mosallam. Wayne County encompasses the city of Detroit and 42 other communities.
Mosallam aims for a 24-hour turnaround time when issuing permits for county buildings and properties. “We are a conduit between the private and public sector,” he says.
Michiganders generally welcome filmmaking. “I haven’t encountered any resistance at all,” says Chris O’ Hara, a Michigan-based DGA member and UPM on “Cherry,” who used campus locations at Kalamazoo’s Western Michigan University.
Dan Angel, exec producer of TNT’s Cuba Gooding Jr. starrer “Gifted Hands,” a biopic of Detroit native Dr. Ben Carson, shot in metro Detroit last fall. “The city and people are committed to this new enterprise and business,” Angel says.
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Posted 26 August, 2009 in LA News
Sent 8-21-09 by Arlena Acree, Director of Film, Media, and Entertainment
* 2.5 % sales tax rebate – based on expenditures within Shreveport’s city limits (application process and rules apply)
Basic Cap- $150,000.00 total to any individual project or production for new productions by a production company which has not previously received any City of Shreveport incentives.
Subsequent Productions- $165,000.00 for a production company which brings a subsequent production to the City of Shreveport within twelve months of completion of the prior project.
The funding cap shall be increased by $10,000 for productions which utilize a Caddo Parish-based post production company.
* 1.5% sales tax rebate – based on expenditures within Caddo Parish (application process and rules apply)
Basic Cap- $20,000.00 total to any individual project or production for new productions by a production company which has not previously received any Caddo Parish or municipalities lying therein within the last twelve months.
Subsequent Productions- $22,000.00 for a production company which brings a subsequent production to Caddo parish within twelve months of completion of the prior project.
The funding cap shall be increased by $1200.00 for productions which utilize a post production company located within Caddo Parish or any of the municipalities lying therein.
* Resolution passed for the Mayor to suspend certain provisions of city ordinances to grant temporary approval for uses of film production
* Permitting: No charge for film and construction permit fees for set builds (Caddo-Bossier Parish)
* Free Locations for most of our city and parish (Shreveport and Bossier) buildings
* Free water for filming special effects – (City of Shreveport city limits) – exception wave tank
* Easy and simple permitting – no permit fees
* Assistance with DOTD permitting
Posted 21 August, 2009 in NM News
A brief but informative recent Q & A with Lisa Strout, Director of the New Mexico Film Office:
1. Did you attend the Produced By Conference? Yes
If so, what did you think of the conference? I cannot say enough about the quality of the panelists and session content, the professionalism of the event planning and execution, and the welcoming, engaged and engaging demeanor of the guild members. The tradeshow, however, was in sharp contrast to this but wholly due to the lack of traffic. It was organized, the booth design was fantastic, and the overall look and feel was great….it’s just that so few people were able to see it! That being said, I am very pleased that New Mexico had a strong presence at this spectacular maiden voyage. Any suggestions or comments? a.) Allow all PGA members to come to the tradeshow for free; b.) shorten the hours to consolidate the traffic; c.) organize the overall event in such a way that all attendees come through the tradeshow space, and/or acquire a larger footprint that would include lunch and other activities, again driving the traffic to the booths.
2. What question do you get asked the most by prospective Studio Execs/ Producers/ Production Companies? “Is your incentive program solid?� Fortunately for New Mexico , the answer is a resounding “yes!� While the current trend among the states is to increase tax incentive percentages, the overall value to the producer, the financial bottom line, and the reliability of a program are paramount. Not only is there stability in New Mexico’s incentive programs, but the extensiveness of our crew, talent, vendor bases as well as the world-class soundstage facilities at Albuquerque Studios set us apart from the competition and provide producers with the biggest bang for their buck.
3. What is currently shooting in New Mexico ? In pre-production, production, or wrap: Paul, Crash Season 2, The Resident, Undocumented – with an upcoming television series announcement.
4. What has filmed in New Mexico so far in 2009? 21 major film and television productions since January, 2009
5. Any new, big news that you would like to share with the Producers (ie changes to the incentive program, companies that have relocated, facilities that have been built, additional production services now available, crew growth)? New Mexico film incentive program, again, is alive and well, with no changes. Our 25% tax rebate has no annual cap, no per project cap, no minimum production days, crew hires, or budget requirements. Our crew base continues to grow and is currently 2,800 deep. Over 200 film-specific vendors and services. Hubbard Broadcasting’s Reelz Channel moved their production operations to Albuquerque and launched their first broadcast from New Mexico this past spring. Robert Redford and Governor Bill Richardson joined forces this May by launching a new film initiative in New Mexico , offering nurturance and training opportunities for Native American and Hispanic filmmakers. The focus of this initiative is on job creation through the arts.
Posted 20 August, 2009 in OK News
From Oklahoma Film Office
OKLAHOMA CITY – This week Oklahoma Gov. Brad Henry signed into law Senate Bill 318. The measure increases the Oklahoma Film Enhancement Rebate up to 37 percent cash back on Oklahoma expenditures officials with the Oklahoma Film & Music Office announced.
Governor Brad Henry commented, “The movie and TV industry has changed dramatically over the last few years, with many states having seen a tremendous increase in film revenues after the passage of similar film legislation. Oklahoma’s beautiful and varied terrain makes the state a perfect locale for film and television productions. A competitive incentives package means we will increasingly be able to share what Oklahoma has to offer with the rest of the world.�
Lt. Gov. Jari Askins, who serves as the Chair of the Oklahoma Film Commission said “Oklahoma was one of the first states in the region to offer film rebates but in recent years our neighbors have surpassed our efforts,� Askins explained. “By enhancing our program we will have the economic tools to compete in attracting companies to Oklahoma.�
The provisions of SB 318 will be effective after the first of July, potentially providing motion picture companies up to a 37 percent rebate on Oklahoma expenditures. The rebate includes film, television and commercial productions, with a minimum budget of $50,000 and minimum in-state spending of $25,000. Total rebate payouts remain capped at $5 million per year.
According to Jill Simpson, “The increased percentage for our rebate will provide a major boost for Oklahoma’s film industry. In recent years, the program has not been competitive. This will effectively put us back at the table with neighboring states doing big business like New Mexico and Louisiana who each offer film rebates and tax credits in the 25-35% range. We’re confident it will be enough to put us over the top in landing several of the potential productions we’ve been working to recruit. It will also allow us to better support and grow our industry in the state.�
“We are pleased the Legislature took such proactive action,� said Hardy Watkins, Executive Director of the Oklahoma Tourism and Recreation Department. “It is such a strong statement in support of our goal to develop and support creative industry jobs in Oklahoma and raises awareness of our state as a destination.�
The previous incentives program in Oklahoma offered up to 17% cash back on Oklahoma expenditures with a minimum budget threshold of $500,000. The state’s rebate program is administered by the Oklahoma Film & Music Office and the Oklahoma Tax Commission.
To read the full requirements for the rebate program, please visit www.oklahomafilm.org for more information. A revised application and instructions on the new processes in place will be available on July 1, 2009.
The Oklahoma Film & Music Office, a division of the Oklahoma Tourism and Recreation Department, works to attract film, television, video, and music industries to Oklahoma through an effort to promote and expand these values and interests within the state. The Film & Music Office is committed to providing critical support to filmmakers by assisting them with their production concerns. Additional information can be found at www.oklahomafilm.org.
Posted 20 August, 2009 in MI News
By Sean Dalton, Staff Writer
Michigan’s subsidy for filmmakers has been a great success, as evidenced by California’s passage earlier this year of its own $500 million tax incentive to retain productions that have been fleeing the Golden State for places like the Great Lakes State.
A 42 percent refund for in-state spending is a difficult lure to resist, but Innocence Production Inc.’s George Constas says it’s only a start.
Constas is a location scout for the Ann Arbor based production company. He is largely why places like Dexter, Chelsea, Jackson, Ann Arbor and Ypsilanti were included in the roster of locations around mid and eastern Michigan.
As a native of the state and a Michigan State University graduate, Constas says it feels good be back in his home state to do what he loves after being in the business for the past four years working elsewhere. He’s also proud to be one of the first people building a new industry here almost entirely from scratch.
“Up until this point there haven’t really been any movies in Michigan to speak of until last year,” he said.
For now crews and talent are being bussed, trucked and flown in from elsewhere to film in and around places like Detroit, Dearborn and Ann Arbor, but that’s not a very sustainable way of doing business Constas says, particularly when you consider the freelance nature of everyone in the film business.
“Everybody in the film business is an independent contract worker,” Constas explains. “From the director on the way down you get hired for a show and then they hire some people. It’s all networking based on who you’ve worked with in the past.”
Constas wouldn’t be involved in the current filming of the independent Hillary Swank film if he hadn’t worked on The Dark Knight with one of his sister’s former colleagues. He got a call while he was in Chicago from his sister to come back to Michigan to work on this film and here he is.
“The key is … it doesn’t matter what kind of tax incentive you have, if you don’t have the qualified people to make it work then they’re not going to want to come back,” Constas said. “If you have a movie production and the folks that you hire on don’t know what they’re doing they’re either going to bring people from out of state that do or they’re just going to go somewhere else where there’s a stable sustainable film community that can sustain projects coming in.”
Right now there is an effort to train enough local people to sustain those projects and even more projects in the future, because the people working on a film are committed to that project and cannot shift gears between two or more.
If the state can only handle two or three films right now and 10 film projects are aimed at Michigan, all Constas can do is hope that Michigan wins the bid for that work based on either the existence of freed up production workers in the state or a willingness on the producer’s part to transplant the talent from elsewhere.
That explains why there’s such a frenzy to draw off projects from Hollywood. More connections between Michigan production talent and Hollywood mean more filming, which would seemingly continue to snowball, as Constas explains it.
It’s difficult to gauge the benefit to Michigan in dollars. Constas dodged the question about the budget for his film and how much of that money was being spent on hotels, caterers, restaurants, car rentals and other goods and services that directly inject dollars into local businesses and companies.
“The direct impact is the people that are hired in Michigan,” Constas said. “The gas that’s going into my tank is from here. We fuel all of our trucks and buy lumber and construction materials. We’re eating at local restaurants like this one (The Dexter Pub). We have a crew of about 70 people staying at hotels in Ann Arbor since November.”
The tax breaks are mitigating those costs and making producing films here more desirable, but the focus has to be on developing that talent and those connections in the state, according to Constas.
It’s not a difficult business to break into, but it’s a difficult one to remain in. Constas and most people he knows in film production started as interns or volunteers and moved up in the business fast, but many of them find it difficult and leave.
“The truth of the matter is that it’s very hard work,” he said. “There is a tremendous amount of misconceptions that it’s some kind of glamorous lifestyle, but it’s not.”
For five to seven months Constas and his colleagues work 18-hour days with filming beginning at 6 a.m. and ending at 8 p.m. He has to show up two hours before shooting and two hours after, partly to make sure his crew leaves the filming locations as they were when they arrived.
Part of Constas’ job is to worry about that relationship with the local communities and their representative entities: the police, fire department and city council.
“We understand that the city is doing a lot of running around, residents have to be a tremendous help – we have to tell them not to park somewhere if it’s a period movie,” Constas said. “It’s a lot of effort.”
He says it’s been great working with the residents, police and government, although the only recommendation he would make would be for each municipality to appoint a representative whose sole purpose is to deal with people like Constas on a regular basis.
Aside from that it’s just too difficult to draft policies that put the process on autopilot, he says. “I might be inside a church and all I need to do is make sure there’s no parked cars out front or I might want to blow up a building … every movie is going to be different like that. If we can just have a dialogue with somebody whose specialty that is everyone would have an easier time.”
Being aware of the disturbance filming can cause, Constas says it’s worth it in the long run not just for the jobs and local spending, but for the exposure.
“People see your city and state in a film and get an idea of it in their head … I moved to Houston, just because I thought it was the place to go,” he said. “Imagine if we can get people and businesses thinking of Michigan like that … they just want to come here because of an idea.”
Posted 20 August, 2009 in FL News
BY DOUGLAS HANKS
dhanks@MiamiHerald.com
Teriyaki wings and state film subsidies rarely go together, unless you’re in the prepared-food line waiting for Burn Notice to get its lunch.
That happened to me recently after I ducked into the Coconut Grove Fresh Market for a quick bite.
Before I could grab a number by the counter, a familiar woman got her ticket first. I recognized her from a story I did last year on Burn Notice, the hit cable series filming next door in the abandoned Coconut Grove Convention Center.
The bad news for me: She was the set’s caterer, there to fill up on lunch for a cast and crew topping 100.
Not only did I have to wait for Burn Notice’s order. I was paying for some of it, too — along with the rest of Florida’s taxpayers.
Burn Notice should receive about $4 million this year in state production subsidies to cover up to 20 percent of local expenses — including groceries.
This Fresh Market scene captured a nationwide debate as states rethink the cash they offered Hollywood in boom times.
Florida cut its film subsidies from a peak of $25 million in 2007 to just $5 million last year. But in a remarkable sign of the film industry’s appeal as an economic engine, lawmakers actually doubled production incentives to $10 million this year — even while cutting Florida’s budget by $3 billion.
”The entertainment industry is one of America’s last major exporters,” Graham Winick told me when I asked why the state should be subsidizing movies. Winick runs Miami Beach’s film office and also heads a statewide trade group lobbying for the film industry. “It’s something a lot of communities in this country are fighting over.”
July 1 marked the opening of this budget year’s subsidy derby, when productions can qualify for Florida’s incentives.
Lucia Fishburne, the state’s film commissioner, said last week the state’s $10.8 million pot was scooped up immediately. Burn Notice got the most, followed by a feature film set to be shot in South Florida — Fishburne wouldn’t say which one.
The rest went to four video games, a big industry for the Orlando area that successfully lobbied to be included in Florida’s incentive program.
Supporters of incentives point to the seven- and eight-figure budget a movie can bring, not to mention the free advertising a show provides its host city.
Critics lambaste the notion of government paying out more in subsidies than they’ll get back in sales tax from the productions — not to mention the idea of underwriting an industry famous for huge salaries and lavish budgets.
The Massachusetts Department of Revenue estimates the state brought in only 15 cents for every dollar in production incentives handed out last year. Louisiana’s chief economist calculated a 20-cent return for every subsidized dollar.
But math tells only part of the story, of course. Hollywood brings with it a special set of credits and debits.
Miami’s current reputation as an edgy tropical outpost — and not a sunny retirement haven — comes partly from its depiction in Miami Vice during the 1980s. South Beach’s status as a top party destination gets ratified every time a celebrity is photographed at a nightclub there.
Then comes Burn Notice, which every week puts ex-spy Michael Westen (played by Jeffrey Donovan) basking in both the sun and criminal element of Miami, his hometown.
”There’s nothing like top-of-mind awareness,” said Robert Parente, the head of Miami’s film office. “Burn Notice keeps us in the forefront.”
Production subsidies are relatively new for Florida — the state offered none as recently as 2003. Both the Miami Vice show and the Miami Vice movie filmed here without government support.
But as other states began rolling out incentives this decade — Michigan and Louisiana are major players — Florida’s production industry rallied to make the Sunshine State compete in the subsidy wars.
It worked. As the subsidies peaked in 2007, Jennifer Aniston, Owen Wilson — in Marley and Me — and Jim Carrey — in I Love You Philip Morris headed to South Florida for movie shoots. Burn Notice signed on for two more seasons, the first series in South Florida since Vice.
Like an arms race, states competing for subsidized productions feel they can’t shut off the money spigot.
CSI: Miami already films in California. Burn Notice executives promised to leave without subsidies.
Burn Notice backers like to note how the show’s first two seasons both ended with Westen abducted, leaving viewers to guess where the bad guys were taking him.
Remember, the backers say: Writers can dump him in Louisiana should Florida’s production subsidies vanish.
It’s a threat, of course, but probably a good bet, too.
Douglas Hanks covers the tourism and entertainment industries for The Miami Herald.
Posted 20 August, 2009 in PR News
Movie Maker
Elissa Suh
July 14, 2009
As if the lush beaches and crystal waters of Puerto Rico weren’t already a location enticement for moviemakers, here come the tax credits! The Puerto Rico Film Commission recently announced their decision to extend Law 362 for 10 more years, granting a 40 percent tax credit for film projects shot in Puerto Rico.
The figure places Puerto Rico among the ranks of some of the most sought-after-and financially rewarding-production locations. The tax credit is available to moviemakers who shoot more than 50 percent of their principal photography in Puerto Rico and spend more than $1 million. While obviously assisting moviemakers financially, Law 362 also benefits the island, which ultimately gains international exposure and the potential to boost tourism and Puerto Rico’s own film industry.
The lure of lofty tax credits in combination with Puerto Rico’s location and stunning tropical backdrop have already started to prove effective. Movies such as The Rum Diary, starring Johnny Depp, and The Men Who Stare at Goats, starring George Clooney and Kevin Spacey, have recently wrapped filming.
Posted 20 August, 2009 in LA News
(from The Incentives Office)
Governor Jindal has just signed HB98, increasing Louisiana tax credits to 30%, with an additional 5% for local hires (capped at the first $1 million), and eliminating the planned phase-down of the tax credit program. The bill provides also for an 85 cent buy-back of certified Louisiana tax credits.
Additionally, SB277 was signed, permanently providing for a 25% tax credit on Digital Media, plus an additional 10% for Louisiana residents.
Posted 20 August, 2009 in CA News
Governor Arnold Schwarzenegger today announced the first 25 film and television productions to qualify for the film and television production incentive the Governor signed into law on February 20, 2009. The Governor fought for economic stimulus measures including this substantial new job and business retention incentive program earlier this year. Targeted specifically at the types of film and television productions most susceptible to runaway production, this incentive program demonstrates the Governor’s resolve to fight to keep jobs in California – jobs that until now have been lured elsewhere as a result of competing incentives offered by more than 40 other U.S. States.
“I fought hard for economic stimulus measures including the film and television production incentive, because we must do everything in our power to stimulate the economy and put Californians back to work,” said Governor Schwarzenegger. “This is about the make-up artists, the caterers and the countless other small businesses that rely on film and television production to succeed and create jobs for Californians.”
In the last decade, California has lost a significant share of studio feature film projects, with the number of such films shot in California declining 50 percent since 2003, according to statistics tracked by the California Film Commission (CRC). According to the Los Angeles Economic Development Corp., each dollar spent on film production in California generates an economic output of $2.95 statewide.
“I can state without a doubt this new film incentive program is the reason we’re making our movie in California,” said Tom Duffield, Production Designer on CBS Films’ Faster. “Without the incentive, it would have been made in New Mexico. I’m now free to hire the best crews and use the best local vendors in the business. This couldn’t come at a better time.”
Charged with administering the program, the CFC began accepting applications on July 1, 2009. Due to the anticipated high demand, applications were assigned queue numbers based on a random selection process. The CFC is evaluating applications and to date has notified 25 productions that they qualify.
“This program launches at a time when the state urgently needs to increase jobs and stimulate our economy,” said California Film Commission Director Amy Lemisch. “We now have the resources to put more of our experienced crews back to work while keeping our production infrastructure healthy. I couldn’t be happier with the early success of our program. It’s performing exactly as it was intended: keeping movies and TV shows here in California that otherwise would have been lost to other regions.”
The 25 film and television productions that have received notifications to date include:
1/2 Life – 1/2 Life LLC
Beverly Hills Chihuahua 2 – Tiny But Mighty Productions, Inc.
Burlesque – Screen Gems Productions, Inc.
Christmas in Beverly Hills – Fast Lane Productions, LLC
Circle of Eight – Bronson Avenue II, LLC
Cooper – Gramps Company, Inc.
Dead Broke – Lucky Monkey Pictures
Dinner for Schmucks – DW Studios Productions, LLC
Elevator Girl – Garding Limited
Faster – CBS Films Productions Inc.
Fire In The Hole – Woodbridge Productions, Inc.
Hero Factory (Animated) – Threshold Animation Studios, Inc.
Important Things with Dimitri Martin – Central Productions, LLC
Men of a Certain Age – Turner North Center Productions Inc.
Naked Gun 4 – Paramount Famous Productions
Perfect Family, The – Perfect Family, LLC
Priest – Screen Gems Productions, Inc.
Raise, The – Unclaimed Freight Productions, Inc.
Second Wives Club – Paramount Famous Productions
Slumdog Virgin – Steinbeck, LLC
Social Network, The – Columbia Pictures Industries, Inc.
Spanish Harlem Project, The – Mano Productions, Inc.
Takin’ It Back – Elixir Entertainment, Inc.
Untitled Movie – Close To Home Productions, LLC
You Again – Briarvale Productions, Inc.
(Information provided by Billie Greer from The Office of Gov. Arnold Scwarzenegger)
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