Inception vs. Paprika controversy , 開始対パプリカ論争

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DJZ    投稿数: 329
First, I want to say I'm glad this board is back.
Moving on, it's weird that Japan got all riled up about Lion King and Tatei Emperor Leo, but seems to have let , . , slide. [Or, if you're Gainax, Atlantis vs. Nadia.] Nolan claims that he doesn't watch a lot of movies, and, for example, only caught 'Marienbad on DVD a few months ago, but c'mon!

He can't possibly be oblivious to Paprika's existence, because it's gotten wider distribution and awareness in the U.S. than most Kon films. Hell, even Nolan fans are aware of Paprika. So he can't have shot this thing in a vacuum, no matter how much he claims his script predated Kon-san's adaptation. [Though even his interviewers seem averse to acknowleding the similarities, which is weird, because at least one person questioned Neil Gaiman about Coraline and Spirited Away.] Anyway, thoughts?

最初に、私はI'を言いたいと思う; 嬉しいmはこの板もどって来る。 進む、it' 不可解な日本がすべてにライオン王およびTatei皇帝についてレオいら立たせて得たsは、許可したこれらのリンクスライドを持つようであるが。 [または、you'なら; 再Gainax、アトランティス対ナディア。] Nolanはことを彼doesn'主張する; tの腕時計多くの映画、および、例えば、つかまえられた'だけ; 数か月前DVDのMarienbad、しかしc' 月曜日! 彼can' tはPaprika'を気にとめない; sの存在、のでit' Konのほとんどのフィルムより米国のsによって得られる広範な分布そして意識。 地獄、Nolanファンはパプリカに気づいている。 従って彼can' tは多くが彼彼の原稿によって前日付けにされるKon-san'を要求してもいかに、真空のこの事を撃った; sの適応。 彼の面接者が類似を不可解である認めることに反対でなようであるけれども[、のでCoralineおよび活気がある離れたについての少なくとも1人によって質問されるネイルGaiman。] とにかく、思考か。

P.S. 1:35 @

Update via Nolanfans board: Review which finally compares the two @ :

"Yes, it shares ideas (and some direct images) with this film and others like Satishi[sic] Kon’s Paprika but it grounds itself in a reality far from the colourful dreamscapes of Kon’s film and with less cartoon like elasticity of the world of Neo."

Nolanfans板による更新: 最終的に2 @を比較する検討: " はい、それはこのフィルムと考え(およびある直接イメージ)およびSatishi [sic] Konのパプリカのような他を共有するが、現実のそれ自身をKonのフィルムのそしてNeo."の世界の伸縮性のようなより少ない漫画が付いている多彩なdreamscapesから遠い基づかせている;

French review @ also makes the comparison.

"Ellen Paige (extraordinaire en architecte de l'esprit dont le personnage évoque celui dans Paprika, de Satoshi Kon),"
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DJZ    投稿数: 329
Now that I think about it, while it didn't initially bother me if Nolan was a closet anime fan [ , , , ] it does kind of irk me that they're talking about Oscars when so many American distributors mangled the marketing for Kon-san's movies to the point that they ended up going under the radar, instead of being contenders for the Academy Award for Best Animated Film. And I actually remember talking to Maruyama-san at a panel about how I felt that Madhouse was seriously being over-looked in that category here, and how there were much better films from that company alone which deserved to win more than Spirited Away.


私がそれについて考えるので、それdidn'間; tは最初にNolanが戸棚の日本製アニメファン[、、、]種類をのうんざりさせる私をそのthey'する私に迷惑を掛ける; そう多くのアメリカのディストリビューターがKon-san'のためのマーケティングを台無しにした場合のOscars再述べていること; 彼らがレーダーの下で行くことの上で終えた最もよい生気に満ちたフィルムのアカデミー賞のための競争相手があることの代りのポイントへのs映画。 そして私は実際に精神病院はその部門で真剣にここに見落とされていた、そしていかにについての話すことを多くにより活気がある離れたに勝つことを値した単独でその会社から大いによりよいフィルムがあったことに私がいかに感じたかパネルでMaruyamaサンに覚えている。
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ZYL  居住地: Tokyo  投稿数: 10
Hi! DJZ. Thank you for your interesting post!
I hope my translation helps Japanese users.


P.S. 1:35 @ <>
ノラン監督ファン掲示板 投稿記事より:
 <> :


French reviewより
Ellen Paige 「登場人物設計などの考え方が、驚くほど今敏監督の『パプリカ』を思い起こさせる」
 多少、誤訳はあるかもですがその辺はご容赦を。 通りすがりの今作品ファンより
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ZYL  居住地: Tokyo  投稿数: 10
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DJZ    投稿数: 329
Thanks for tweaking my Babelfish-ese. ^_-
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DJZ    投稿数: 329
Nothing really big, just saw Paprika listed under "similar movies to Inception" @ . I may have missed it the first time, and it might have been included anyway, but I did request it be mentioned.

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DJZ    投稿数: 329
Comment via one of those Youtube parodies:

"he's not making it up. I just finished watching Paprika and Inception was definitely inspired by it! I work at a movie theater so I watched Inception last night"

一人 Youtubeのパロディーを介しコメント:


Also via :

Christopher Nolan's sci-fi tinged thriller "Inception" already seems destined to enter the pantheon of great head-trip movies, so we came up with a few other lesser-known titles we thought might put you in the mood....

...Another one along similar lines might be Satoshi Kon's anime "Paprika," which, similarly to "Inception," is about people entering another's dreams and also features some fantastic dream-city imagery.

Honestly, the way we here at Scarecrow compile these recommendations is pretty simple: We put up a piece of paper and ask the staff for titles. "Inception" has gotten more responses than any before (we're pretty excited for it). Too many to go into them all, but here are a few more at random: "The Prestige," "Brazil," "A Scanner Darkly," "The Thirteenth Floor," "Paranoia Agent" (an anime series), and of course, "Blade Runner" and "The Matrix."

また /2012368164_scarecrow16web.html経由:



正直なところ、かかしの方法私たちはここで、これらの勧告をコンパイルする非常に簡単です:私たちは一枚の紙を入れて、タイトルのスタッフにお尋ねください。 "発端は、"前に、より反応を得ている(私はかなりそれのために興奮して)しています。あまりにも多くのそれらすべてに入るが、現在以上でランダムにいくつかの:"プレステージ"、"ブラジル"、"スキャナーダークリー"、"13階"、"妄想代理人"(アニメ)、およびもちろん、"ブレードランナー"と"マトリックス"偉大なヘッド旅行映画のパンテオンので、我々は気分....であなたを置くかもしれないと思ったいくつかの他のあまり知られてタイトルを思い付いた


正直なところ、かかしの方法私たちはここで、これらの勧告をコンパイルする非常に簡単です:私たちは一枚の紙を入れて、タイトルのスタッフにお尋ねください。 "発端は、"前に、より反応を得ている(私はかなりそれのために興奮して)しています。あまりにも多くのそれらすべてに入るが、現在以上でランダムにいくつかの:"プレステージ"、"ブラジル"、"スキャナーダークリー"、"13階"、"妄想代理人"(アニメ)、およびもちろん、"ブレードランナー"と"マトリックス"。



Quelques clefs de Inception sont dissimulées dans ces films. A vous de (les) voir.

paprikaint02PAPRIKA (Satoshi Kon)
Histoire : La DC Mini, un appareil révolutionnaire qui permet de visualiser les rêves des patients a été volé! Les professeurs Tokita et Chiba, inventeurs de la machine, partent à sa recherche. L'enquête vire à l'absurde lorsque les différents protagonistes commencent à tous vivre le même rêve éveillé... Atsuko Chiba et son alter égo onirique Paprika mènent l'enquête.

Dans le film d'animation Paprika, Satoshi Kon creuse les obsessions paranoïaques et schizophrènes de Perfect Blue, dont la substance teintée de giallo était comparable à celle des premiers De Palma. Les rêves y sont représentés de manière littérale afin que le spectateur se fonde dans les nombreux degrés de lecture sans les particularités culturelles qui peuvent rendre un film difficile à comprendre en dehors de leur pays d'origine. A un moment donné, on voit Paprika en groom d'ascenseur offrant la possibilité au même personnage de s'arrêter à différents étages, chacun représentant un genre de cinéma. La présence de l'art, comme élément indispensable pour rendre le réel supportable, est amplifiée par des effets surprenants comme lorsque Paprika se fond dans un tableau et revisite des mythes imaginaires : elle devient le sphinx d'Oedipe pour finir en sirène.

Les liens avec Inception : Christopher Nolan le cite comme l'une des principales influences et s'est inspiré du personnage principal pour peaufiner le personnage joué par Ellen Page, une architecte de l'esprit qui se prénomme Arianne (en théorie, la référence saute aux yeux).




フィルムパプリカ、今敏中空強迫観念と妄想統合失調症パーフェクトブルー、物質ジャッロを帯びて、最初のデパルマのそれに匹敵したアニメーション。夢は文字通りようにビューアがこの映画は本国以外の理解しにくいことができます文化の特殊で本を読むのさまざまなレベルに基づいています表されます。 1つの時点で、我々はパプリカの新郎のエレベーターの可能性をさまざまな段階で、同じ文字を停止し、提供して参照してください各映画の異なる種類を表す。ときにテーブルとリビジット神話架空のパプリカは、スフィンクスオイディプスになるフェードの実我慢、驚くべき効果によって増幅です作るための不可欠な要素としての芸術の存在は、最終的に人魚。

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DJZ    投稿数: 329
Too long, so I'm splitting here.

From :

Other films with similar dream-invasion plots include the anime “Paprika,” about a machine that allows therapists to enter the minds of patients, and of course the “A Nightmare on Elm Street” series, of which I’ll most enjoy the fourth installment, “Dream Warriors” for its take on role-playing within the dream as well as this concept of magic.

長すぎるので、私はここに分割しています。 /spout/archives/2010/07/15 /dreams_and_movies_tracking_back_from_inception投稿者:

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ZYL  居住地: Tokyo  投稿数: 10
Hi DJZ! Could you post only in your native language (or French, so on) ?

Babelfish-ese includes so many grammatical mistakes and translation errors therefore it is useless. It never helps to inform what you hope to say.

Please try to retranslate them into English. You'll see what I am saying.
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DJZ    投稿数: 329
Yeah, I totally know how it feels having to deal w/ those engines. Anyway, new one @ :

"...If you want some idea of how timid and businesslike Inception is in its human concerns (while very bold as a feat of engineering), see a film I suspect was on Nolan's list of homages here, Satoshi Kon's Paprika.

"That anime also involves a dream machine project run amok. But Kon, a true sensualist and surrealist, isn't afraid to imagine that people's minds contain something more than just chaste, greeting-card love, movie violence and conceptual chatter. Paprika is bursting at the seams with Japan's barely repressed pathologies, in the form of an insecure scientist who runs his hand under the elastic skin of the woman he can never seduce, then pops her like a balloon; or a parade of salarymen whose heads morph into cameras to take upskirt pictures of high school girls; or a giant naked toddler who feasts on a towering, soot-black demon—the avatar of a tyrannical patriarch character—until she grows into a bodacious giantess the size of Godzilla.

"In Paprika, Kon confronts his tormented society with visual poetry, not just a remix of tropes and set pieces. He goes deep, where Inception just talks of depth and darkness but, as a screen experience, sticks with glib pyrotechnics fit for a Superbowl commercial or an Usher concert. Like I said, film of the decade."

From :

Inception et sa pincée de Paprika...

...Les adeptes de métafiction reconnaîtront également plusieurs thèmes récurrents du romancier japonais Yasutaka Tstusui, dont ceux de «Paprika» qui a été adapté dans une grandiose animation par le grand Satoshi Kon. Les fils dramatiques se ressemblent beaucoup et quelques scènes (celles dans l'ascenseur notamment) évoquent presque l'hommage, le clin d'œil appuyé...
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DJZ    投稿数: 329
Just throwing in my two cents. Paprika is indeed better than Inception. Since I hear it's only opening limited in Japan, I hope you don't have to go far to catch it. If it makes you feel better, though, Di$ney's making me haul ass for at least half an hour to catch a screening of Gedo Senki here. [And I think the only theater playing Perfect Blue in L.A. was like 40 minutes away from my place...] suggests watching Paprika before Inception.
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DJZ    投稿数: 329
I'm eager to hear what Kon-san or the web administrators have to say on the subject. Actually, when I think about, there might be a bit of Paranoia Agent and Tokyo Godfathers in the film, too.

Anyway, from :

"This isn't the first time that we've seen a movie that has dealt with the world of dreams and the perception of reality. Dreams have been dealt with in things like "Dreamscape" and the anime "Paprika.""
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ZYL  居住地: Tokyo  投稿数: 10
msg# 1.5 DJZ(2010-7-15 6:48)
些細なことですが、“『インセプション』関連作品” のリストに『パプリカ』が 入っていました。
msg# 1.6 DJZ(2010-7-16 9:09)


(ZYL comment)
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DJZ    投稿数: 329 recommended seeing Paprika after Inception.

Also from :

So, if anyone wants to run against the daydreaming Inception herd, here is a list of movies that are kind of similar to but ultimately better than Inception: Total Recall, Paprika, The Matrix (only the first one), A Nightmare on Elm Street 3: Dream Warriors.

From :
Since then I’ve seen “Inception” a second time, and I’m still not certain which reading I accept as either the best analysis or even a favorite possibility, though I’m especially down with the idea that for the part of Ariadne (Ellen Page), Nolan was as much influenced by the anime film “Paprika” as the Greek myth from which she’s named. She is quite inquisitive in a therapist sort of way.

Looks like Nolan's a manga fan, too.
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DJZ    投稿数: 329
Sorry to the translator. I got a Thai(?) quote this time from : Tema film Inception sederhana, memasuki alam bawah sadar manusia pada saat tertidur. Tema ini pernah diangkat pula dalam beberapa film animasi seperti Paprika dan Ghost in Shell, atau film sci-fi lain seperti The Matrix

From : Since then I’ve seen “Inception” a second time, and I’m still not certain which reading I accept as either the best analysis or even a favorite possibility, though I’m especially down with the idea that for the part of Ariadne (Ellen Page), Nolan was as much influenced by the anime film “Paprika” as the Greek myth from which she’s named. She is quite inquisitive in a therapist sort of way.

Leo being ironic @ :

"This is a very surreal, multi-dimensional plot structure (which) needs ideas that don't come about from Hollywood very often," DiCaprio said.

"I'm truly excited to see how the audiences here would react to this idea," he said, crediting Japanese movie-goers with embracing new concepts such as works by animation director Hayao Miyazaki and cinema legend Kurosawa.

"I'm a huge fan of Japanese cinema, Japanese anime," DiCaprio said at a Tokyo press conference. "The Miyazaki film 'Spirited Away' has very surreal landscapes that audiences here seem to embrace and seem to love."

From :

"The concept behind Inception, that of invading a person's sleeping mind and planting dreams there, was explored less spectacularly but more daringly in the Japanese animator Satoshi Kon's Paprika. Kon uses a bright and colourful animation style to explore the dangers of shared dreams in a way that is both funny and frightening, and he doesn't avoid the dangerous sexual ideas that dreaming can uncover. Toys and household appliances acquire the profound sense of menace that everyday objects sometimes project when rational thinking is switched off."

From :

"Not many people have heard of it since it resides in the realm and classification of anime, but Satoshi Kon`s Paprika, produced in 2006, really set the standard for movies that relied on dreams to develop the story. Dream-sharing and dream recording were a major factor in this movie, while Inception built its well-driven plot from only the ability to share a dream with another person.

"In Paprika, therapists use technology to enter the dream world of their patients and better treat them for the problems they face in real life. This technology gets stolen by one of the people that developed it, now addicted to the world where rules don`t apply. However, all his time in the dream world begins breaking boundaries between dreams, building a huge collective of all the oddities people have dreamed up. It looks kind of trippy, but it definitely shows the full spectrum of how people interact with their subconscious."

From :

"On retrouve d'ailleurs cette utilisation du rêve dans le manga Paprika de Satoshi Kon sorti en 2005."

From :
"Pas de DC-mini (Paprika, Satoshi Kon, 2006), ni de machine à laver la mémoire (Eternal sunshine, Gondry, 2004), l’exploration des subconscients est devenue possible grâce à un autre artifice, l’inception (mot anglais pour « origine »)."

Man, who'd have thought Paprika would be talked about more now than when it first came out?

ZYL, please, if possible, translate at least the Dicaprio thing. That's the one which pisses me off.
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ZYL  居住地: Tokyo  投稿数: 10
msg# 1.14 DJZ(2010-7-22 15:12) 抜粋訳



皮肉にもレオが代弁 @ :



 DJZさんのリクエストがあったのでディカプリオの記者会見パートまでを先に訳しました。同じGoogleNews(AFP)の日本語版のソースがないかと思ったけど、上手く見つかりませんでした。原文のサイトにはもっといろいろ書いていますので、そちらもご覧になれば面白いかも。タイトルが “ディカプリオによれば『インセプション』は日本にぴったり” なので、そこがまた皮肉な感じ。
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DJZ    投稿数: 329
ZYL: Thank you for the clarification on the nationality of the magazine.

I'll be sure to update if I see anything new. Though I am kind of disappointed that even Watanabe-san is calling the film "original"...
BTW, it's been effin' ages since I last saw it, but Watanabe totally looks like the Chairman.

No translation needed(on your end) for and .
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DJZ    投稿数: 329
Not necessarily indicative of a wider spectrum, but a minor poll @ likes Paprika more.
Reviewer compares the two @

I don't endorse said Youtube Paprika/Inception mash-up comment..:

"pfff if it is really a rip off, why don't japanese sue them?. I mean again if it is really a rip off and they don't stand for their product, it either means they don't think of it as a rip off, or they just don't care (if they don't know about inception at this point they are just plain ignorant)."

From "...Nolan’s dreams are also fairly shallow in their psychology. A few years ago, there was a Japanese animated movie, Paprika, about a team of therapists who used a sci-fi technology to heal their patients by entering their dreams. Among the issues dealt with: survivor guilt, unacknowledged sexual attachment, and the difference between psychosis and neurosis. In the matter of insight, Paprika, though its heroine is a bubbly-voiced, wide-eyed teen, runs circles around Inception. And let’s not even mention Mulholland Drive.

"Nolan’s dreams more closely resemble video games. That explains, I think, the movie’s brooding over the fate of the bodies left behind by the dreamers. The movie doesn’t merely worry about the bodies left at the “top level”—the dreamers’ physical bodies. It worries about the representations of their bodies left behind on all the intermediate dream-levels. It probably doesn’t make sense, therefore, to class Inception with Paprika, Mulholland Drive, and other movies about dreams: it belongs rather with The Matrix, Existenz, and Avatar—with movies about the mind-body problem in the age of gaming. Thus the movie’s fascination with the décalage between the passage of time in reality and its passage within a dream..."
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DJZ    投稿数: 329
It only took a month, but American entertainment blogs are finally commenting on the similarities b/tw both films and the mash-ups @ and .
Looks like the Japanese prefer your movie, too, Kon-san. ^^
From :

Meanwhile over in Japan, surprisingly, although Inception took top spot in box office standings its premiere weekend, it quickly slipped down in rankings to the fourth spot this past weekend below... Karigurashi No Arrietty, Toy Story 3 and...Salt.

This seems strange considering Japan’s adoration of...DiCaprio...Furthermore, not only does part of the film take place in Tokyo, it also stars Ken Watanabe, one of the few Japanese actors who have successfully crossed over into visible roles in American films.

So I recently spoke to a writer and film critic based in Japan who reviewed Inception for one of the country’s major publications for more on the topic, and he had some light to shed on why, possibly, it hasn’t gotten as big a reception as might have been expected.

He reminded me that although Tokyo is indeed featured as a location in the film, the scenes of the city are minimal, ‘consisting mainly of some aerial shots during an early scene when Watanabe and DiCaprio are flying over it in a helicopter,’ and that the scenes from inside the helicopter were even possibly shot ‘on a sound stage in Los Angeles or anywhere else in the world.’

When I asked him why more Japanese wouldn’t see Ken Watanabe in such a major role as something worth admiring, he told me that certainly, Watanabe does have a ‘much better and bigger role’ in Inception than he did in Nolan’s Batman Begins, in which his character was ‘a stereotypical wispy-bearded martial arts sage who disappeared early on, and was later revealed as a "mask" being worn by a white guy.’

But, he told me that having a Japanese character in a position of prominence or authority in a film just isn’t now enough to get the crowds excited. He mentioned also that while he felt the movie as a whole was good, that none of the characters are very deeply developed and that he enjoyed watching Watanabe more in his small role in the film Crique du Freak.

New site @ notes similarities.

Someone goes into a whole list of stuff @
and a debate took place @ .
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DJZ    投稿数: 329
Surprised there are still new ones, but....

From :
Origen es un torrente de influencias y homenajes siendo las más claras ente las primeras Solaris, de Tarkovsky, donde otra esposa muerta se niega a languidecer en los pliegues de la memoria hasta convertir la vida/sueños de su cónyuge en una autentica pesadilla y donde la delgada línea entre la realidad y lo onírico también es puesta en tela de juicio, The Matrix de los herman@s Wachowski, a la que evita parecerse formalmente a toda costa, pero a la que debe su eterna duda constante sobre la veracidad del mundo en que se desarrollan sus protagonistas, el mecanismo de inserción/salida en la meta-realidad sustituyendo conexiones neurales por poderosos sedantes y una llamada telefónica por la inmersión en agua, y también esos señores Smith de Cobol Enterprises que persiguen sin tregua al personaje de Dicaprio, y por encima de todo a Paprika de Satoshi Kon, con su trama de espionaje industrial, sus ladrones de ideas, su mundo plagado de siniestras corporaciones y su discurso sobre el poder sanador de los sueños.

From :

Es en esta segunda dirección, con resonancias del anime ‘Paprika’ de Satoshi Kon, donde Nolan lo da todo, sacando a relucir su enorme talento.

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reanimator  居住地: San Francisco, USA  投稿数: 1

I have to agree with ZYL on translation problems. It looks like you're completely ignorant about cultural context when it come to writing posts with zealousness and emotions. Machine translation is not human translation. Please take some form of Japanese lessons first before doing something.

It seems like you want Satoshi Kon to reply back to you by posting insane amount of posts which are full of your opinions and news pieces which no one cares about. So far, how many Kon fans replied back? How about the man himself? I think it's better for you to have a separate blog dedicated to Satoshi Kon and his works. I mean, Studio Ghibli fans set up blog sites dedicated to its works and creators and why can't you? So far, he only answered very few to Japanese folks who are asking advice. It's unlikely that he'll understand your posts. I know that you're overzealous fan. Just don't be ignorant. Seriously, you're like a troll to blog.

When I see DJZ's post on Kontact Board, I see nothing but your overzealous posts on anything related Satoshi Kon and his work. It feels like you're hogging
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DJZ    投稿数: 329
reanimator: Even if I knew the language, I'd still have to find a Japanese keyboard. Anyway, Kon-san's already stated his thoughts on the issue in his updates. I'm just doing this partly as a favor for his other readers, and partly because I do feel the guy's gotten screwed out of wider recognition. And while it's true I didn't get a lot of replies, the threads have gotten exposure on various Japanese blogs. Plus, they probably partly contributed to getting Nolan to out himself on the whole thing-albeit indirectly. Anyway, if you want to throw in your two cents on Kon's work, it's not like anyone's stopping you.
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DJZ    投稿数: 329
I really hate dredging this up old topic again, but it's true.

From :

RIP, Satoshi Kon: Will 'Inception' director speak now for 'PAPRIKA's' dreamy magic?

I am hoping that now, the high-riding Christopher Nolan will help give the great Satoshi Kon an even larger due.

Kon's many, many fans, of course, don't need Nolan's validation to affirm the anime filmmaker's mastery and gift and craft. But if the "Inception" director sings the praises of Kon now, soon after the Japanese animator's death, perhaps thousands more "unenlightened" filmgoers might come to appreciate the accomplishment that is "Paprika."

Kon is known too, of course, for "Perfect Blue" and "Toyko Godfathers" and "Millennium Actress," but it is 2006's "Paprika" -- about a world in which medical professionals use a machine to enter (or "incept") their patients' dreams -- that bears such striking resemblances to Nolan's summer live-action blockbuster.

Even if Nolan was not directly inspired by "Paprika," he surely has seen it -- and surely has appreciated it (and perhaps Yasutaka Tsutsui's novel, as well). Now, I hope Nolan might be as vocal as filmmaker Darren Aronofsky has been in speaking to Kon's gifts.

With his talent for blending realistic and fantastical elements in his eerie and disorienting and gorgeous anime, Kon -- even as relatively short as his career was -- should be remembered as one of Japan's most gifted modern artists.

Kon, who was said to be working on a new film about dreams, died of pancreatic cancer Tuesday in Toyko. He was 46.
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DJZ    投稿数: 329
From Le 10 ispirazioni di Inception:

9. Paprika Se Dreamscape già proponeva un uomo che entra nei sogni degli altri nel 1984, nel 2006 Paprika (del da poco scomparso Satoshi Kon) è invece proprio un viaggio nel subconscio umano attraverso i sogni in tutto e per tutto identico, nei presupposti e non nelle finalità, a quello di Inception. Sebbene l'idea di Satoshi Kon fosse di creare un'opera immaginifica, incontrollata e delirante (tutto il contrario del rigore e del controllo massimo di Nolan), lo stesso i fan di Paprika (presente!) hanno gridato nella sala buia non appena è stato chiaro quel che faceva Di Caprio.
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DJZ    投稿数: 329
I'm not entirely sure, but I believe the latest South Park spoofed both movies.
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DJZ    投稿数: 329
From moviefone:

Christopher Nolan's dream-within-a-dream saga 'Inception' has endured its fair share of criticism since the movie's release this summer. While many have hailed the film as a visual masterpiece and a true original, others have noted similarities between 'Inception' and a handful of other films like 1984's 'Dreamscape' and the 2006 anime 'Paprika.' Now, [Blues Brothers] director John Landis is adding his vote to the "not original" category by stating that he doesn't think Nolan's latest is anything new.

Landis had this to say about the film: "Interestingly enough 'Inception,' which is wonderful, is not original. There have been a lot of movies like it; remember 'Dreamscape?' Oh that's bad special effects but almost the same movie. It's Dennis Quaid and Edward Albert is the president of the United States and they insert him into his dreams." Do we remember 'Dreamscape,' Landis? Of course we do -- the snake-man was terrifying to young eyes.

Finally an entertainment article with more than just a blurb on the subject:

Owning the Dream: See “Paprika,” Not “Inception”
Jonathan Stromberg | Sep 27, 2010 | Comments 0

“Owning the Dream” is a part of a series titled “This & That” where contributors compare films that range from being obviously the same, i.e. remakes, to films that share enough similarities that a comparison is inevitable.

Perhaps it’s unfair to compare Kon Satoshi’s “Paprika” (2006) to Christopher Nolan’s “Inception” (2010). There is at least some indication that Nolan has seen and was inspired by “Paprika,” though it is hard to say for sure. One could argue Nolan couldn’t be called a responsible filmmaker without seeing such a similar work by a contemporary, especially one that had been so well regarded critically around the world—in fact, the film which elevated Kon into the pantheon to respected auteurs and earned him a career retrospective, after only a decade as a director, at Lincoln Center. Perhaps that as well, would be too harsh a criticism. Many fans of Kon’s work will complain that “Inception” lifts the premise of “Paprika” without acknowledging it and at the same time spoiling it. Fans of Nolan, on the other hand, will argue that “Inception” owes nothing to anyone, that it and “Paprika” couldn’t be any more dissimilar, and that it is itself a masterwork worthy of accolades.

I’ll leave the Nolanites to their sad indignity. To be generous, Nolan’s crime may not be making a bad movie (though I believe he did) so much as failing to make a good movie—at least, one as good as Kon’s. In light of Kon’s recent and tragic death, it is appropriate to highlight his best work, and best qualities, in contrast to such a woefully inadequate competitor.

Both films return to the essential analogy of the cinema as shared dream, with the filmmaker situated as the original, lucid dreamer. This idea, elements of it explored by Jean-Louis Baudry (“The Apparatus,” 1975) and others both before and after, going back at least to Jean Cocteau’s early psychodrama “Le Sang d’un Poète” (1930) and Maya Deren’s seminal works “Meshes of the Afternoon” (1943) and “At Land”(1944), is well trod material. By introducing the science fiction element of a device through which characters may invade each other’s dreams, these films become meta-fiction. They comment not only on their internal dramas, but also on the medium itself. In doing so, they say quite a bit more about filmmaking than about dreaming, and this is one of the areas in which Kon and Nolan diverge.

To dream in Nolan’s imagination means to be enslaved by it. Agents in a shared dream may engage it, in a limited way, but they can neither change it nor challenge the original dream’s architect (who, apparently, is typically absent). Most powerless of all is the dreamer herself, who is the only participant who lacks lucidity. Whether it’s appropriate to take these roles to be analogues to the world of cinema—architect as director, agents as actors, dreamer as audience—is debatable, though this certainly seems to be the intention. After all, why, given the long and established history of the film as dream paradigm, would you ignore such an obvious parallel? And if that was Nolan’s intent, rather than just a slip on his part, what does it say about his opinion of the audience? We appear to be fodder for deception, lured in by brain-bandits trying to tear something precious out of us. And behind it all, the mastermind, in total control, but strangely not implicated in the crime itself—floating above and outside it. The architect has to create a minutely detailed world, and specifically circumscribe the roles of the agents he will insert, so that when he turns them loose upon the dreamer there is only one possible conclusion. In short, the goal of the skilled architect, and the filmmaker, is absolute control. What Nolan renders to us is a totalitarian vision in which he is the invisible dictator. He so generously grants us a dream in which rigid rules and hierarchies, explained to the audience in insufferable exposition, keep us from dreaming at all. The only dreamlike thing about his vision are the characters, who are so improbable and contradictory that even the much derogated audience can tell they could never exist in reality.

Watching “Paprika” gives a completely different experience. One would think animation would be just as megalomaniacal, but it’s clear this isn’t the case at all. Perhaps the reality is that control isn’t the issue at all, but rather the lust for it. Nolan has relatively little control over his film, or the audience’s reaction to it, despite his insistence. Kon on the other hand, who can manipulate almost every aspect of his production as a matter of practice, has no need for oppression. Paprika is a deeply charitable film, which rather than forcing itself upon the audience, approaches bearing gifts. Kon’s avatar in the film, Dr. Tokita, lets slip this beautifully concise statement on the role of filmmaker-as-dreamer, aptly while daydreaming himself:

“Isn’t it wonderful? The ability to see a friend’s dream as if it were your own. To share the same dream.”

This is what Kon wants—to share his dream with you as if it were your own. “Paprika” makes no attempt to force you to succumb to it. In fact, that is what the narrative of the film rails against. Drs. Tokita and Atsuko, and the film’s eponymous protagonist, are racing to defeat a cruel, nihilistic dream infecting Tokyo. The dream is controlled by an aging authoritarian who yearns to be young again and to remake the world in his image—perhaps much as Nolan’s Dom Cobb created his fantasy world with it’s endless expanse of stark gray modernity for him to share alone with a woman he would come to loathe. But this sort of idea isn’t truly a dream, or even a nightmare. It’s a sadistic fantasy. The dreamer in this case feels nothing at all for the innocent people whose psyches this dream devours. Kon, the dreamer behind the dream, however, loves the audience as much as the film. This is intrinsic to the idea of sharing a dream. Where Nolan wants to force you to watch his vision, which can never be your own, Kon wants to share his. He wants his imagery to belong to the audience, and to be loved by the audience. He wants this, simply, because his images, even when dark, are joyful. He wants to share them because they bring him joy to create, and that feeling is transmitted directly through the medium. “Inception,” on the other hand, is one of the least joyous experiences one can have in a theater. This isn’t a failure on the part of the film, which is by any account skillfully crafted, but rather a failure of Nolan’s own imagination—a failure to imagine the audience as peers.

Kon describes his creative process, roughly translated, as “hoodlum emulation.” By which he means that there are two competing desires within him: the low-class hoodlum, who wants to force his visions upon the audience, and the sophisticated artist who respects his viewers’ intellects. He allows the hoodlum to run within the artist, under it’s control, so that when he forces too much, it can be shut down and brought back under the reins of subtlety and art. His conscious control over his creative impulse, operating within a sandbox, is well described by technological terms. The result is a film which caries a great amount of force and yet never bullies. The contrast I intend to draw to “Inception” in this regard should be clear. Nolan would do well to contain his inner hoodlum, which has pretensions to Al Capone.

When taken in comparison, the contest between “Paprika” and “Inception” can be decided simply by addressing the context of the films within the careers of the filmmakers. “Paprika” the film, is a loose adaptation of “Paprika,” the novel, by the celebrated avant-garde science fiction writer Yasutaka Tsutsui. Each work can now be seen as the climax of its creator’s career. Tsutsui published his novel as a serial in 1993 before announcing his retirement from writing (which he has since returned to), and now considers it his most entertaining work, and his best attempt at fusing meta-fiction and psychoanalysis. Kon’s film stands as his last completed film, though “Dream Machines,” which is still in production, is destined to be his capstone. “Paprika” is his magnum opus. Just as his masterpiece “Perfect Blue” (1998) established him as a respected animator, “Paprika” has become his most important work as an auteur. It is his final artistic statement, an implicit declaration of the meaning and purpose of filmmaking in his view. Christopher Nolan’s magnum opus, on the other hand, will likely remain “The Dark Knight (2008),” which is a genre defining, if somewhat inconsistent, film. Its flaws reflect Nolan’s, in that it becomes self-indulgent and pedantic in its third hour, but it makes up for these by harnessing—and serving—the collective energy of the millions of Batman fans who would see it. It’s as near perfect a realist superhero movie as has yet been made, and though it begs to be further refined it will always be respected as such. “Inception,” on the other hand, was Nolan’s victory lap. Like Peter Jackson, who squandered his credibility windfall on “King Kong (2005),” Nolan was essentially given $160 Million to make whatever film he wanted. The film he wanted to make was “Inception.” That itself says everything that needs to be said about him as a filmmaker. Theses could be written about the crucible directors face when rewarded for their commercial success by creative independence and why some succeed—Kubrick, Coppola, Raimi—and some—Cameron, Jackson, Nolan—fail? Kon Satoshi made Paprika on a budget of around $3 Million. That’s less than 2% what Warner Brothers jettisoned on “Inception.” For all that investment, what did they get but proof that Christopher Nolan’s level of taste is seriously questionable?

As I acknowledged earlier, it may be unfair to pit against each other two distinct films by very different filmmakers. And perhaps it is also unfair to criticize Nolan so harshly for failing to live up to the artistic standard set by someone else. Certainly one should never be in the position of having to choose between only ever seeing one movie and not another. And it’s true that “Paprika” is an occasionally uneven film, though still excellent. And it’s also true that “Inception” is superbly made, despite its lame script inability to adapt to its cast. When a great filmmaker passes, though, who will remember him? What is his legacy, and what is his estate? Kon Satoshi worked with a small but extremely talented crew, and inherited the resources of Japan’s most significant animation studio—besides maybe Ghibli. But his work has always been of limited popular interest. He and his crew had to work every day making excellent films for their own livelihood. Kon died with a prolific though short résumé of only 5 feature films and a television series. Each was better than the last. Nolan earns his criticism, because, frankly, he can afford it. Nolan is sold as the new model for the Hollywood auteur, the kind who earns his artistic license by grossing a billion dollars from a single film. He will have to suffer a much more miserable flop than “Inception” (which has been significantly profitable) for him to worry about his next job. Critics across the board lauded “Inception” as the “the kind of film Hollywood should be making.” By this they mean Hollywood should hand back creative control to directors, which any lover of cinema can probably agree. But not just any director should be able to make whatever they want, and not just because they’ve brought home the bank. Profitability is no surrogate for integrity. And any artist who lacks integrity, due either to delusion or to ignorance, gets exactly what they deserve from the haters.

Great pic I found on the internets.
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DJZ    投稿数: 329
Technically about Scott Pilgrim, but this article had an interesting blurb:

I have a theory—and it’s just a theory, so please do argue against it—that mainstream viewers don’t want to see unrecognizable universes. They want sci-fi and fantasy, sure, but they’re more inclined to watch something in which the unknown enters the known world. Robots and aliens among us, not humans on other worlds and in strange and distant futures. Even with “The Matrix,” to which “Scott Pilgrim” has been likened, the fantasy world was in context the world we’re familiar with, and Neo was an outsider who’d come to it/us from the unfamiliar “real” space. Surely most of the fans of that film prefer the scenes in which a super-powered Keanu Reeves is doing magical things in “our” universe, even if it’s a false one, rather than the scenes outside the Matrix in that dark, dystopic “reality.”

The same can be argued for why “Inception” was more popular. One of my main issues with that movie is that it isn’t surreal enough, but for the majority of moviegoers this was likely a popular factor. The dream worlds in “Inception” looked like our real world for the most part, and fantasy occurred in this “realistic” space instead of there being “realistic” people in a fantasy space. Had “Inception” really been like the comparable anime film “Paprika,” with its spectacularly bizarre dreamscapes, I don’t think it would have fared so well.
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DJZ    投稿数: 329
@aicnanime noted that this week's Entertainment Weekly had a sub-article which mentioned Paprika as a "If you like this" in relation to Inception. EW is owned by Time-Warner, the media conglomerate which distributed Inception.

Scanned the pic and uploaded it here. Left bottom corner.
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From Fort Worth Weekly:

I posted earlier about the late Satoshi Kon, whose animated film Paprika bears a marked resemblance to Inception. Since then, others have noticed the same thing. The big difference is that Paprika has the real world in danger of being overrun by the dream world. If you’re interested in something similar, check this Japanese film out on DVD and remember a director taken from us too soon.

From Movie Web:


For a movie acting like it's intelligent, it sure talks down to the audience. As stated before, nothing is left to the imagination. Much superior dream-related films like Total Recall (1990) and Paprika (2006) establish their own rules about dreams and create dreamworlds that require one or two little bits of exposition and after that, you fully understand their workings and can enjoy the rest of the films without further explanation. However, the dreamworld in Inception was way over-developed since there's too much to the structure as to where it requires constant explanation. This is a clear case of too much complexity killing a potentially good idea. Some might defend the heavy dialogue, stating that the explanations give people a full understanding of the universe Nolan created. However, it doesn't work with me because when I watch a movie, I care about character development and exploration of certain ideas, I could care less about every tiny detail in a certain universe since I only want enough information as to where I can follow it.


Lots of people are hailing this as very creative and original. I can't disagree more with this notion because this feels like a stale copy of Paprika. Paprika focused on psychotherapists diving into the dreams of their patients to understand the subconscious better and to get information important to them (such as the theft of their technological breakthrough, the DC Mini). Inception focuses on people diving into peoples' dreams so they can steal or plant ideas. While Paprika had better visuals and characters to go with its dreamworlds, Inception opts for very conventional imagery and bland characters, thinking that the "amazing" multi-layered dreamworld is enough to hold the movie together....


It looks like Nolan made some quick searches on Wikipedia to shoe-horn in some "smart" ideas into the film. The best example of this would be when Arthur explains to Ariadne the concept of the Penrose Stairs and explains how it's an infinite loop, and how it's that concept that's used to confuse inception victims, then the camera moves down to show that it's a regular staircase. Wow, wasn't that genius?!! The other part that pretends to be "smart" is the plotting. Again, Total Recall and Paprika successfully merged fantasy and reality and really twisted the audience's minds questioning what's happening is real or not. With Inception, however, it's quite easy to follow the dreams within dreams within dreams within dreams because they're neatly separated from each other, you just have to keep track of them (I guess Nolan thinks we're too stupid to do that). The last quarter or so of the movie gets extra convoluted with quick cuts between the multi-layered dreams and Cobb facing Mal in others. I guess this was supposed to make the movie puzzle-like and give the audience something to solve....


At the end of the day, Inception is just another "style over substance" over-priced summer cash-in (much like Nolan's previous movie, The Dark Knight), but unlike most others of its ilk, it really hurts itself by pretending to look like a thinking-man's film. At least the recent Transformers movies are honest with being loud special effects vehicles and the fans will agree with that notion. I'll give Inception some more points than that blue abomination Avatar since it felt a little more ambitious than that blue liberal propaganda piece, but it's still quite a wretched picture. If you want some great and truly thought-provoking sci-fi, go read the Selected Stories of Philip K. Dick and go watch Paprika (2006), Total Recall (1990), Solaris (1972), and Stalker (1979). or the matrix. so if you are into these kind of films than i guess you really had a great time watching it. i truly feel that nolans early work was so much better than what he is making now. memento, batman begins, following and insomnia are classic movies that i am think nolan should of won oscars but never got the chance.

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From The Village Voice:

Dir. Satoshi Kon (2006). Anticipating Inception, Paprika was the late cyberpunk animation director’s last and most complicated anime.
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From Deadline:

DEADLINE: While you were waiting for that solution, were there movies that came along that convinced you the technology was there to translate your visuals to the screen?
NOLAN: On The Dark Knight we really tried to push ourselves to achieve a lot of large-scale effects in camera, to really create a world by shooting on location, all around the world, and by doing very large in-camera gags like flipping an 18-wheeler truck on a busy downtown street, for real. Coming out the other side of that experience and having enjoyed it as much as I did left me feeling like we had a great team of people who could devise and photograph these kinds of visuals. I came away feeling well equipped to take on the world of Inception and the kind of outlandish imagery it would require. Most of the technology employed for the imagery of Inception is fairly old-fashioned. There is some newer technology that the guys at Double Negative brought to the table. The most daunting aspect of the visuals, for me, had always been things that had been based on in-camera technologies, like achieving zero gravity by building sets with different orientations and doing tricks with wires. Those techniques were based on seeing Stanley Kubrick’s 2001 when I was a kid, falling in love with deception and the magical tricks he did to convince an audience there was zero gravity. The thing that really gave me confidence to take on my film had more to do with my own experience, rather than technology in other people’s films. It was more about having had the opportunity to do some really large-scale filmmaking and getting comfortable with the big machine that’s involved in that to really get a handle on pushing the envelope with what we’d be able to do on set and in-camera.

Those can't be the only movies, can they, Chris?

DEADLINE: Inception was lauded in Hollywood as a dose of originality in a summer largely devoid of it. Studios rely on tentpoles, but are they concerned enough about originality?
NOLAN: I’m not sure I’d put that down to studio reliance on tent poles. Maybe it’s just particularly working with Warners Bros, but in my experience with the studio system, they have always understood the need for freshness and not just something the audience has seen before. I’m not sure I’d pin it down necessarily to studio reliance on tent poles, because I think it’s as possible to make over-familiar small movies as it is to make over-familiar tent poles. In fact, the honest truth is that when you look at some of the more original successes over time, conceptually a lot of them are tent poles, from Star Wars to Avatar.

That's weird, because a lot of people-particularly Satoshi Kon fans-had a sense of deja vu with Inception...

From Nevermindpopfilm:

Let us begin with the primary claim—Inception stole the idea of a dream machine from Paprika. It is nearly impossible to deny the similarities between the two films on this account. The dream machine is meant to provide access into ones subconscious; it is the tool that allows both plots to flourish, but once that tool has been used, it takes the plots in different directions.

Also a comment near the bottom of the thread:

why did satoshi kon have to die?? Now we're stuck with Chrisopher Nolan and his overrated body of work.

A little older one from [url=]KPBS.ORG[/URL]:

...The basic premise of entering someone's dream world was superbly handled in the Japanese anime "Paprika," which served up a bizarre and surreal world with less explicit plot exposition. But both films use the dream worlds to create tense thrillers. In "Paprika," the main character was like a detective who entered a person's dream to try and resolve emotional traumas. In "Inception," it's something of a crime thriller as the character enter a man's dreams to plant an idea that will alter his business strategy....

...ACCOMANDO: But you could do the same thing without constantly bogging it down in exposition like that. I mean, there’s an animated film “Paprika” that is a similar sort of concept where it’s…

MARKS: Very good, yeah…

ACCOMANDO: …a dream.

MARKS: No, you’re right. I like that movie.

ACCOMANDO: It’s a woman who goes into dreams. She’s like a dream therapist…

MARKS: Umm-hmm.

ACCOMANDO: …where she goes into dreams to try and help people solve their, you know, emotional and mental issues. But from what I – I mean, I haven’t seen the film recently but I don’t remember there being so much discussion of what’s going on. You get thrown into it and you don’t know what’s happening and you don’t know why kind of the parameters of the real world aren’t functioning for you but you find out as you continue on in the story. And I would’ve preferred to let some of this stuff happen and be more confused or misled or whatever without having everything just kind of grind to a halt for discussion.

WRIGHT: Yeah, I mean, I didn’t have a problem with it. I really – Honestly, I like the way they set up these very specific rules for how things are supposed to work and then they go ahead and break them sometimes, and sometimes they all sort of tie together. I mean, it’s – to me, it’s – I also love the fact that it is complex but it’s not complicated. You can follow along. You can…

CAVANAUGH: I – That’s what I was going to ask. Scott, is this the type of a movie that when you leave you’re pretty clear on what happened? Or do you still have questions?

MARKS: Absolutely not. I don’t know – I don’t – When you say that this film is not complicated, you talk about a guy who is purposely trying to convolute meaning and to obscure meaning, it’s Christopher Nolan....

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DJZ    投稿数: 329
Sorry, this thread's done for me after this post. I talked to Nolan, he hadn't heard of the site, but he did hear about Paprika, even though he hadn't seen it. He also seemed more eager to check it out after I mentioned that TDK was one of the last movies Kon mentioned before he died. Then Guillermo Del Toro, who was moderating, added that Kon was-if I recall-a "great director". So there you have it. My feeling is that Nolan's brother is the one who's familiar with anime, since he seems more interested in exploring the surreal aspects of a film. Still, I hope that helped a bit.

申し訳ありませんが、このスレッドがこの記事の後に私のために完了です。私は彼がExcessif.comサイトの聞いたことがなかった、Nolanさんと話したが、彼はそれを見たことがなかったにもかかわらず、パプリカを知りましたか。彼はまた、より私はTDKは、彼が死ぬ前に崑前述の最後の映画の一つであると述べた後、それをチェックアウトするに熱心だった。その後、司会を務めたギレルモデルトロは、コンがされたことを追加- I -を"偉大な監督"を思い出してください。だから、それがあります。私の気持ちは、彼はもっと映画の非現実的な側面を検討することにも興味思われるので、Nolanさんの兄が、アニメに精通しているものであることです。それでも、私はビットを助けたことを願っています。
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