It is very challenging working under constraint, duality of aspiration and reality of cost. The most important thing is finding your own voice, own independent thinking and creative passion like any other field. The work of auteurs can be identified by distinguish content, an organic quality, capturing the natural light and shade of the city, its raw colours and infinite textures. But, no-one knows the rules of commercial films. Gene Siskel agrees with me: “If admission is being charged, the readers deserve a review.” Hence, I am also producing a list. And still knowing that it is easy to criticize and difficult to produce.
Original inspiration for preparation of this report card was hidden in an article read long back ago. That was a sort of incomplete, hence refining work was done by me. Edited version is much different than original work.
Auteur
Directors- Films
John Abrahm- Agraharathil Kazhuthai, Cheriachante Krurakrithyangal.
Adoor Gopalakrishnan- Anatharam, Swaryamvaram.
Govindan Aravindan- Chidambaram, Kanchana Seetha, Pokkuveyil
Satyajit Ray- The Apu Triology, Satranj ke Khiladi
Girish Kasaravalli- Ghatashraddha, Thaayi Saheba, Dweepa
Ritwik Ghatak- Megha Daka Tara, Ajantrik, Subarnarekha
Buddadeb Dasgupta- Uttara, Kaalpurrsh
Mirnal Sen- Khandhar, Bhuvan Shome, Ek Din Achanak
Guru Dutt- Pyaasa, Kagez Ke Phool.
Jahnu Barua- Xagoroloi Bohu Door, Halodhia Choraye Baodhan Khai
Kumar Shahani- Kasbha, Maya Darpan, Char Adhyay
Bimal Roy- Do Bigha Zameen, Madhumita, Bandini, Devdas
Mani Kaul- Uski Roti, Drupad, Idiot.
Shyam Benegal- Nishant, Manthan, Bhumika, Ankur
M.S. Sathyu- Garm Hava , Sookha
The Representatives of Quality
Directors- Films
K. Vishwanath- Swayam Krushi , Sagara Sangamam , Swarnakamalam
Rituporno Ghosh- Unishe April, Rain Coat, Choker Bali
Ajoy Kar- Parineeta, Saptapadi
Mira Nair- Salaam Bombay!, Monsoon Wedding
Deepa Mehta- Water, Earth, Fire
Shekhar Kapur Bandit Queen, Masoom
Aparna Sen- 36 Chowringee Lane, Mr& Mrs Iyer, 15 Park Avenue
Sai Paranjape- Sparsh, Katha
Mani Ratnam- Nayakan, Bombay, Dil Se
Prakash Jha- Gangajal, Damul
Vishal Bhardwaj- Omkara, Maqbool
Anurag Kashyp- Black Friday, Paanch
Kamalakara Kameshwara Rao- Gundamma Katha, Panduranga Mahatyam
Sudhir Mishra- Hazaaron Khwaishein Aise, Yeh Woh manzil to nahin
Raj Kapoor- Awaara, Mis 420, Mera Naam Joker, Aag
Hrisikeh Mukherjee- Golmaal, Chhoti Si Baat and Naram Garam
Bharathi Rajaa- Pathinaru Vayathinile, Nizhalgal
Girish Karnad- VamshaVruksha, Tabbaliyu neenade magane
Ram Gopal Verma- Satya, Company, Sarkar, Bhoot
Chetan Anand- Neccha Nagar, Haqeeqat
Basu Chaterjee- Dillagi, Chitchor, Choti Si Baat, Khatta Meetha
Gulzar- Koshish, Mausam, Aandhi, Angoor
Jabbar Patel Simhasan, Samna
V Shantaram- Do Aankhein Barah Haath, Dr. Kotnis ki Amar Kahani
Ketan Mehta- Mirch Masala, Bhavni Bhavai, Maya Memsaab
Mehbooh Khan- Aan, Mother India, Andaz
Raj Khosla- CID, Who Kyun Thi?
M. T. Vasudevan Nair- Nirmalayam, Kadavu, Bandhanam
Singeetham Srinivasa Rao- Pushpak, Apoorva Sahodarargal
Balu Mahendra- Moondram Pirai, Veedu, Sadma
Govind Nihalani- Droh Kaal, Ardh Satya, Aakrosh
T. Hariharan- Pazhassi Raja, Oru Vadakkan Veeragatha
K. Balachander- Rudra Veena, Unnal Mudiyum Thambi
Tapan Sinha- Kabuliwala, Ek Doctor Ki Maut
Kamal Hassan- Virumandi, Hey Ram
Gautom Ghosh- Paar, Dakhal,Yatra
Bharathan- Thevar Magan, Thazhvaram
Jandhyala- Aha Naa Pellanta, Jayammu Nischayammu Raa!
Sathyan Anthikad- Nadodikkattu, Pattana Pravesham
Saeed Akhtar Mirza- Salim Langde Pe Mat Ro,Mohan Joshi Hazir Ho!
Shankar Nag- Nodi Swamy Navirodu Hige, Accident
Shaji N. Karun- Vaanaprastham, Piravi
G.V. Iyer- Bhagwat Geeta, Adi Shankaracharya
Utpalendu Chakrabarty- Chokh
B.V. Karanth- Godhuli, Chomana Dudi
Kalpana Lazmi- Rudaali, Daman
Mainstream Filmmskers
Director- Films
B.R. Chopra- Naya Daur, Kanoon, Nikaah
Satyen Bose- Chalti Ka Naam Gaadi, Dosti
Gautham Menon- Kaakha..Kaakha: The Police, Minnale
Dibakar Banerjee- Khosla Ka Ghosla! , Oye Lucky! Lucky Oye!
K.S. Ravikumar- Panchatanthiram, Thenali
Kundan Shah- Jaane Bhi Do Yaaro, Kabhi Haan Kabhi Naa
Bala (I-) Naan Kadavul, Pithamagan
Rajkumar- Hirani Munnabhai series
Rakeysh Om Mehra- Rang De Basanti, Delhi 6
Madur Bandarkar- Traffic Signal, Chandini Bar, Page 3
Mahesh Bhatt- Arth, Janam, Naam
Ramesh Sippy- Sholay, Shakit, Buniyaad
Prakash Mehra- Zanjeer, Lawarris
Yash Chopra- Waqt, Lamhe, Deewar
Priyadarshan- Kilukkam, Kaalapaani, Kanchivaram
Farhan Akhtar- Dil Chaatha Hai, Don, Lakshya
S.P. Muthuraman- Enakkul Oruvan, Aarilirindhu Aruvathu Varai
Kodanda Rami Reddy A.- Abhilasha , Khaidi
Vijay Anand- Gudie, Jhonny Mera Naam, Teesri Manzil
Siddique Lal- In Harihar Nagar, Ramji Rao Speaking
Fazil- Manichithrathazhu, Poovizhi Vasalile
Rajkumar Santoshi- Andaz Apna Apna, Ghayal
Manoj Kumar- Shor, Roti Kapda Aur Makan, Upkaar
Sibi Malayil- Bharatham, Kireedam
Ashoutoush Gowarikar- Laagan, Swades, Jodha Akbar
Sanjay Leela Bhansali- Devdas, Black, Khamoshi: The musical
Sriram Raghavan- Johnny Gaddaar, Ek Hasina Thi
Shimit Amin- Ab tak Chappan, Chak De India
Sandip Ray- Goopy Bagha Phire Elo , Bombaiyer Bombete
Santhana Bharathi- Mahanadi, Guna
Santosh Sivan- Theeviravaathi: The Terrorist, Halo
I.V. Sasi- Devasuram, Kanamarayathu
Pan Nalin- Samsara, Kaal
A. Bhimsingh- Pasamalar, Naya Din Nai Raat
Kamal Amrohi- Pakeezah, Razia Sultan
Nitin Bose- Gunga Jumna
Anant Mane- Pori Jara Japun
Jayaraaj- Kaliyattam, Shantam
Sreenivasan- Vadakkunokkiyantram, Chinthavishtayaya Shyamala
Rajat Kapoor- Mithya, Raghu Romeo
Vidhu Vinod Chopra- Khamosh, Parinda
Ramu Kariat- Chemmeen, Neelakkuyil
J P Dutta- Border, Ghulami
N. Chandra- Ankush, Pratighaat
Shakti Samanta- Aradhana, Kati Patang
K. Asif- Mughale Azaam
Emerging Names
Directors- Films
Vasanth- Aasai
Nagesh Kukunoor- Dor, Iqbal
Umesh Vinayak Kulkarni- Valu
Sandeep Sawant- Shwaas
Chandra Prakash Dwivedi- Pinjar
Farah Khan- Main Hoon Na, Om Shanti Om
Blessy- Kaazhcha, Thanmathra
Anubhav Sinha- Tum Bin, Dus
Pradep Sarkar- Parineeta
Navdeep Singh- Manorma Six feet under
K. Selvaraghavan- Kadhal Konden
Nishikant Kamat- Mumabi Meri Jaan, Evano Oruvan
Ameer Sultan- Raam, Paruthi Veeran
Radha Mohan- Mozhi
Onir- My Brother... Nikhil, Sorry Bhai!
Rajnesh Domalpalli- Vanaja
Anurag Basu- Life in Metro, Murder
Sekhar Kammula- Godavari, Happy Days
Kabir Khan- Kabul Express
Chandrasekhar Yeleti- Aithe, Anukokunda Oka Roju
Nikhil Advani- Kal Ho na ho
Tom George- Lessons
Vishnuvardhan- Pattiyal, Arindhum Ariyamalum
Shyamaprasad- Akale, Ore Kadal
Cheran- Thavamai Thavamiruntu, Autograph
Rajiv Anchal- Guru
Shoojit Sircar- Yaahan
Roshan Andrews- Udayananu Tharam, Notebook
Tanuja Chandra- Sur: The Melody of Life
Renjith- Nandanam, Kayyoppu
Aditya Chopra- DDLJ
Manish Jha- Matrabhhomi
Bhaskar- Bommarillu,Parugu
Priyanandanan- Pulijanmam
Omitted Names: Subhash Ghai, S. Shankar, Rakesh Roshan, Sanjay Gupta, Manmohan Desai, Kunal Kholi, Karan Johar, Anil Sharma, Sooraj Barjatiya etc are not there in this list. Opinions are completely mine and I suggest to all people who read the blog or post to send a feedback and suggestion so that we can really improve and create a certain discourse over the works and standing of “Directors” in Indian Cinema.
Sunday, December 13, 2009
Saturday, December 12, 2009
Articles on Cyberworld:
1- A fourth of India turning into desert: ISRO study : No less than a fourth of India’s geographical area, or 81 million hectares, is undergoing a process of desertification
2- Communism Lite - Kerala : Story of Communist party in Kerala covered by Karl E. Meyer and Shareen Brysac, for the Pulitzer Center.
3- Doctors without Borders--- An Indian story of not-so-young Indian doctors who left behind their flourishing career in medicine as well as the lure of huge bucks to go and work in rural India.
4- Johann Hari reports The dark side of Dubai and Dubai: A morally bankrupt dictatorship built by slave labour ; Dubai was meant to be a Middle-Eastern Shangri-La, a glittering monument to Arab enterprise and western capitalism. But as hard times arrive in the city state that rose from the desert sands, an uglier story is emerging.
5- Born for others : True accounts of persons dedicated for good of Society covered by By DeCruz Pulikottil & Kanhaiah Bhelari.
This story beats everything I’ve ever read/heard about friendship……
Horror gripped the heart of a World War-I soldier, as he saw his lifelong friend fall in battle. The soldier asked his Captain if he could go out to bring his fallen associate back.
“You can go,” said the Captain, “but don’t think it will be worth it.Your friend is probably dead and you may throw your life away.”
The Captain ’s words didn’t matter, and the soldier went anyway. Miraculously, he managed to reach his friend, hoisted him onto his shoulder and brought him back to their company’s trench.
The officer checked the wounded soldier, then looked kindly at his friend. "I told you it wouldn’t be worth it,” he said. “Your friend is dead and you are mortally wounded.”
“It was worth it, Sir,” said the soldier.
“What do you mean by worth it?” responded the Captain.”Your friend is dead.”
“Yes Sir,” the soldier answered, “but it was worth it because when I got to him, he was still alive and I had the satisfaction of hearing him say…….
” Man…I knew you would come ! ”
2- Communism Lite - Kerala : Story of Communist party in Kerala covered by Karl E. Meyer and Shareen Brysac, for the Pulitzer Center.
3- Doctors without Borders--- An Indian story of not-so-young Indian doctors who left behind their flourishing career in medicine as well as the lure of huge bucks to go and work in rural India.
4- Johann Hari reports The dark side of Dubai and Dubai: A morally bankrupt dictatorship built by slave labour ; Dubai was meant to be a Middle-Eastern Shangri-La, a glittering monument to Arab enterprise and western capitalism. But as hard times arrive in the city state that rose from the desert sands, an uglier story is emerging.
5- Born for others : True accounts of persons dedicated for good of Society covered by By DeCruz Pulikottil & Kanhaiah Bhelari.
This story beats everything I’ve ever read/heard about friendship……
Horror gripped the heart of a World War-I soldier, as he saw his lifelong friend fall in battle. The soldier asked his Captain if he could go out to bring his fallen associate back.
“You can go,” said the Captain, “but don’t think it will be worth it.Your friend is probably dead and you may throw your life away.”
The Captain ’s words didn’t matter, and the soldier went anyway. Miraculously, he managed to reach his friend, hoisted him onto his shoulder and brought him back to their company’s trench.
The officer checked the wounded soldier, then looked kindly at his friend. "I told you it wouldn’t be worth it,” he said. “Your friend is dead and you are mortally wounded.”
“It was worth it, Sir,” said the soldier.
“What do you mean by worth it?” responded the Captain.”Your friend is dead.”
“Yes Sir,” the soldier answered, “but it was worth it because when I got to him, he was still alive and I had the satisfaction of hearing him say…….
” Man…I knew you would come ! ”
Thursday, December 10, 2009
Cinema - To each his own view
Reading Material on Cinema:
Cinephila in India: A search for love and identity : Explore the identity and divisions among Cinema lovers in India. To make India a better place for cinema, there is now a need for professional cinephiles performing responsibilities like film programmer, film critics & film teachers ;
Legend of Gurudutt : The most complete and original stalwart of black and white era.
Sudhir Mishra Interview : Let us know about a director of quality cinema.
Farcical script by M S Sathyu :Unwilling to evolve out of its crude, star-dominated phase, the Kannada film industry is resorting to the language of chauvinism comments M S Sathyu
This is a blog post for those who "see Films", not "watch movies".
The Cinema:
People are not valued in this bollywood industry. Ritwik Ghatak made 7 films that nobody saw. When he died, people started calling him a great filmmaker. Here in India, they wait for a person to die, and helm him in the label of great. This country lives in the shadows of past and never attempt to break the shackles of orthodox tradition. Gurudutt's epic 'Pyaasa' is the true depiction of this cynicism.
Good cinema comes from creating magic moments. The ability to create magic on screen is what separates the great directors from the hacks and DVD xerox machines. A movie maker, on his/her first film, comes with a lot of excitement, openness and willingness to learn ad explore. It is the way bollywood handles this that makes it a dream debut for him/her. But over the time, all the enthusiasm is wasted in fighting a system without any praise or awards.
The only thing maestros have pursued in their lives is film making. But now young directors don't go to waste their time pursuing people to watch maestro like John Abhraham, Kumar Sahini, M. S. Sathyu or Mani Kaul. FTII emerged as major talent supplier in the actors but failed to make its presence noticed in mainstream. All current generation of film makers have grown up watching more world cinema than regional cinema (Indian). But on their side, films are powerful medium expression, so it is very easy to loose your own identity and uniqueness. Kurosawa's, Godard's, Majidi's, Hitchock’s and Kubrick’s of this world can easily overshadow their own voice. Hence, the originality should not be suppressed in making films for growth of Indianness in our films. We need to feel films and at the same time not to loose our style of storytelling.
There are mainly two type of film viewers in India. One who wants entertainment and another who demands for reality. Until, People reject B grade commercial movies in favor of cinema with sensibilities, nothing is going to be change. Commercial Hindi cinema still remains the opium for the masses. We don't take our cinema seriously. Ultimately, what's great about any film is that it should connects and engage to the audience with keeping focus on original content. Easy said than done !!!
There was a wayward fashion in which youth were treated in Bollywood films, where every college student aside from the hero/heroine are party-going idiots or jittery nerds! The trend of depiction of youth or realism is so dead-on and realistic in films like DCH, Wake Up Sid or Mumbai Mere Jaan. There is a change and, the characters talk like how they're supposed to talk, and nothing seems unrealistic about their personality.
The audience wanted something else than typo but they had no option previously. Today, fresh blood is coming into film making. For 40 years, all these stupid filmmakers were saying that we should give the audience what they want, which is a lie. Either Sensible filmmakers were kept at periphery or pushed towards parallel cinema. People love good cinema as per given the diverse choice. Previously, producers jumped into film making due to love of quick money, not cinema. Today independent cinema is supported by cinephile who are watching and becoming part of change with world cinema. Anurag Kashyap put it eloquently "There is cinematic progress as well. One has to be clear that it is relative. In a country like India, a 4 or a 5 is a development, since our cinema is a 3. We cannot think of being at 7 or 8 straightaway. The process of change would be gradual." [Cited]
Upton Sinclair said a great line, truly held on producers of mindless bollywood films : "It is difficult to get a man to understand something, when his salary depends upon his not understanding it!"
My Cinema:
There is not the single one but many' movie changed my life and turned into passion. Thanks to the pre Cable TV days, I was able to access the regional cinema in childhood on DD. Then, engineering college days opened doors of the heaven. I met with the guys who were equally proactive about good cinema irrespective of language barrier. I stumbled across lots of unknown films from world over and I was awestruck by the stories and characters. I never imagined films to be so meaningful medium of expressions, expressions of thoughts and emotions. Thank you LAN sharing, DC++ and torrents. American, Iranian, Italian, French, Japanese and each tiny nation was giving its own share unique cinematic experience to the world audience. Entertainment is as necessary as anything else but a whole nation is dying to see cute dimples, macho hero, evil villain, plastic emotions and artificial adayen only. That was unexplainable to me. I was ashamed that why film industry making 800 movies can't produce or even encourage genuine film makers.
Then, I read history of our cinema. A subject so critical yet missing in our academic syllabus. 'Winds from the east' was major revelation to understand cinema. And, my big brother helped me lot in understanding this medium. It’s just so refreshing when famous people turn out to be intelligent and really engage in a conversation. And Nitesh was one of them, otherwise too often it’s just rote PR fluff. Passion for cinema & Indian Auteur are full of people who are passionate and know about cinema.
I came across the films which moved me and provided deep insight. During a short span of time, they made me feel, overwhelm, think, travel in time, amaze and wonder. Cinema is thought as ugly thing to work but good thing to watch for entertainment in Indian society. This hypocrisy was understood by me and all mental blockages were opened. Actually watching films is opens your mind. It is just not the time pass but learning for lifetime. We see how filmmakers have expressed their emotions through visual medium and it is not important to watch films, but feel it. It is difficult to feel things because you need to surrender to feel and fall in love with it. I watch characters growing and becoming part of me with each sharing of cinematic moment with film. Long back ago, I’m all of them and they are all me set against that picturesque landscape of fleeting transcendence. Good Cinema is not which gives you what you desire, It tells you how to desire.
Till date, I am known as yayaver to people on cyberworld. My passion for cinema inspires me to the next level: create it. Even if I could not create it, then I will promote it.
Cinephila in India: A search for love and identity : Explore the identity and divisions among Cinema lovers in India. To make India a better place for cinema, there is now a need for professional cinephiles performing responsibilities like film programmer, film critics & film teachers ;
Legend of Gurudutt : The most complete and original stalwart of black and white era.
Sudhir Mishra Interview : Let us know about a director of quality cinema.
Farcical script by M S Sathyu :Unwilling to evolve out of its crude, star-dominated phase, the Kannada film industry is resorting to the language of chauvinism comments M S Sathyu
This is a blog post for those who "see Films", not "watch movies".
The Cinema:
People are not valued in this bollywood industry. Ritwik Ghatak made 7 films that nobody saw. When he died, people started calling him a great filmmaker. Here in India, they wait for a person to die, and helm him in the label of great. This country lives in the shadows of past and never attempt to break the shackles of orthodox tradition. Gurudutt's epic 'Pyaasa' is the true depiction of this cynicism.
Good cinema comes from creating magic moments. The ability to create magic on screen is what separates the great directors from the hacks and DVD xerox machines. A movie maker, on his/her first film, comes with a lot of excitement, openness and willingness to learn ad explore. It is the way bollywood handles this that makes it a dream debut for him/her. But over the time, all the enthusiasm is wasted in fighting a system without any praise or awards.
The only thing maestros have pursued in their lives is film making. But now young directors don't go to waste their time pursuing people to watch maestro like John Abhraham, Kumar Sahini, M. S. Sathyu or Mani Kaul. FTII emerged as major talent supplier in the actors but failed to make its presence noticed in mainstream. All current generation of film makers have grown up watching more world cinema than regional cinema (Indian). But on their side, films are powerful medium expression, so it is very easy to loose your own identity and uniqueness. Kurosawa's, Godard's, Majidi's, Hitchock’s and Kubrick’s of this world can easily overshadow their own voice. Hence, the originality should not be suppressed in making films for growth of Indianness in our films. We need to feel films and at the same time not to loose our style of storytelling.
There are mainly two type of film viewers in India. One who wants entertainment and another who demands for reality. Until, People reject B grade commercial movies in favor of cinema with sensibilities, nothing is going to be change. Commercial Hindi cinema still remains the opium for the masses. We don't take our cinema seriously. Ultimately, what's great about any film is that it should connects and engage to the audience with keeping focus on original content. Easy said than done !!!
There was a wayward fashion in which youth were treated in Bollywood films, where every college student aside from the hero/heroine are party-going idiots or jittery nerds! The trend of depiction of youth or realism is so dead-on and realistic in films like DCH, Wake Up Sid or Mumbai Mere Jaan. There is a change and, the characters talk like how they're supposed to talk, and nothing seems unrealistic about their personality.
The audience wanted something else than typo but they had no option previously. Today, fresh blood is coming into film making. For 40 years, all these stupid filmmakers were saying that we should give the audience what they want, which is a lie. Either Sensible filmmakers were kept at periphery or pushed towards parallel cinema. People love good cinema as per given the diverse choice. Previously, producers jumped into film making due to love of quick money, not cinema. Today independent cinema is supported by cinephile who are watching and becoming part of change with world cinema. Anurag Kashyap put it eloquently "There is cinematic progress as well. One has to be clear that it is relative. In a country like India, a 4 or a 5 is a development, since our cinema is a 3. We cannot think of being at 7 or 8 straightaway. The process of change would be gradual." [Cited]
Upton Sinclair said a great line, truly held on producers of mindless bollywood films : "It is difficult to get a man to understand something, when his salary depends upon his not understanding it!"
My Cinema:There is not the single one but many' movie changed my life and turned into passion. Thanks to the pre Cable TV days, I was able to access the regional cinema in childhood on DD. Then, engineering college days opened doors of the heaven. I met with the guys who were equally proactive about good cinema irrespective of language barrier. I stumbled across lots of unknown films from world over and I was awestruck by the stories and characters. I never imagined films to be so meaningful medium of expressions, expressions of thoughts and emotions. Thank you LAN sharing, DC++ and torrents. American, Iranian, Italian, French, Japanese and each tiny nation was giving its own share unique cinematic experience to the world audience. Entertainment is as necessary as anything else but a whole nation is dying to see cute dimples, macho hero, evil villain, plastic emotions and artificial adayen only. That was unexplainable to me. I was ashamed that why film industry making 800 movies can't produce or even encourage genuine film makers.
Then, I read history of our cinema. A subject so critical yet missing in our academic syllabus. 'Winds from the east' was major revelation to understand cinema. And, my big brother helped me lot in understanding this medium. It’s just so refreshing when famous people turn out to be intelligent and really engage in a conversation. And Nitesh was one of them, otherwise too often it’s just rote PR fluff. Passion for cinema & Indian Auteur are full of people who are passionate and know about cinema.
I came across the films which moved me and provided deep insight. During a short span of time, they made me feel, overwhelm, think, travel in time, amaze and wonder. Cinema is thought as ugly thing to work but good thing to watch for entertainment in Indian society. This hypocrisy was understood by me and all mental blockages were opened. Actually watching films is opens your mind. It is just not the time pass but learning for lifetime. We see how filmmakers have expressed their emotions through visual medium and it is not important to watch films, but feel it. It is difficult to feel things because you need to surrender to feel and fall in love with it. I watch characters growing and becoming part of me with each sharing of cinematic moment with film. Long back ago, I’m all of them and they are all me set against that picturesque landscape of fleeting transcendence. Good Cinema is not which gives you what you desire, It tells you how to desire.
Till date, I am known as yayaver to people on cyberworld. My passion for cinema inspires me to the next level: create it. Even if I could not create it, then I will promote it.
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