So much cloth

Back in work mode, I went through the animatic (storyboards set to sound) of “Sohni”. I could keep making changes forever, but I do need to take it further before the shoot. Umar and I went to the cloth market and picked up a whole bunch of cloth for the rest of the backgrounds, some dust and burning effects as well as 15 yards of black cloth to use as borders and backing on these beautiful backdrops. We want to preserve them and I hope to display all the artwork that went into this project in an exhibition at some point down the road.

Lahore traffic from Adnan Hussain on Vimeo.

Things were crazy and busy in the market. Just as I was purchasing some cloth, I got a call from Khurshid “Sadar” who is a storyteller during puppet shows. He introduced me to several puppeteers when I went to Multan. I have tasked him with finding the most skilled ones that I can audition for this project. He has gathered a few names for me and gave me their numbers as well. There are some complex puppets that I want to make sure they can handle. In addition, I need people that are good to work with, can take direction and are willing and interested in doing something a bit different. It can be challenging to get people to do something a bit out of their comfort zones in terms of the skill and experience they have, but that is the key to keep this art form going.

Sohni break

I worked on some more storyboards for “Sohni”. The pieces are coming together. I feel tired though. I took some time off this weekend. There is still a lot to do before I can go home. I worked in the morning then spent the rest of the day with some visiting friends, eating and laughing around town.

Qing Qi to Landa

I spent the morning blogging since the internet speed was useable. I started uploading blog postings and photos I had already prepared. It is always bitter sweet reading through them. I surprise myself with all that I have dealt with thus far. I suppose it is best to not know how difficult the road ahead might be. Instead, I keep putting most of my energy into that next step rather than focusing just on the big picture. That is the only way to get through is to celebrate each small victory. Really, that is how animation is too. Being that it is such a laborious process, you need to plan the whole piece out, but then push each step of the way to get it done.Umar and I were able to finalize the rest of the background designs, so being sunday, we head over to the Landa Bazaar to pick up cloth. It had been raining the night before and sprinkled a bit during our time out. It was nice to get out after being cooped up storyboarding for quite a while, with only small trips to the local neighborhood for groceries. This place is a mess, but I felt good today, just looking around and being here. I really want to go home, but like every time I come here, there are things about this home that I miss, that fill me with a lot of joy.So, Umar and I walked through the crowded market and picked up seven dollars worth of cloth, that should help us create a river bank, decorate a king’s court and provide huts for villager puppets. As usual, we’ll pick up the few colors we could not find tomorrow at the khadar market. We got a lot of interesting types of cloth, with different textures which work really well for the background. That’s why Landa Bazaar is the best for these backgrounds.We got back to Imran’s place and there was some nice cooking going on.

No phone..no internet

The phones were down and so was the internet. Surprisingly, the electricity wasn’t going out every other hour or more, so I set one of the stories to render so that I can share a version with the dp. I did not know how long it would take. 14 hours later, it is still rendering. I took a break today from storyboarding and decided to read Hans Bachar’s excellent book on production design once again, called “Dream Worlds”. It is my favorite book on shot design. The studies of scenes from different film and the entire look at production design is fantastic. I reread it every time I am working on storyboards, hoping that I can apply a bit more of this knowledge.Other than that, I am starting to organize lighting references. I don’t know that I have time to paint lighting references for each shot, so I am digging up photo references for lighting. These will provide inspiration for the lighting setups of each shot. There is so much planning that goes into a shoot.

Don't linger too long

I spent the day cutting down the story of Sohni by about 12 minutes. It takes a lot of painstaking listening, watching, trying out different images over the music, to figure out what should stay and what can go. There is a lot of powerful poetry that I chose for Sohni, but leaving it all in will only slow down the action which will dilute the effect on the viewer. If I make the viewer watch pointless shots of the puppets standing, waiting for poetry to be sung, it only weakens the film.It is important to not feel too precious about any of the material. This way, I was able to cut out entire sections of the music. That sometimes meant sliding the visuals around and pairing them with different poetry than originally intended, which often gives additional meaning. I think that is what is fun about doing a film that is driven by poetry, but the visuals do not try to mimic the words. Both words and visuals come together to tell the whole story, but rather than repeat each other, they hopefully add different pieces of the story together. So you could just watch the visuals, or listen to the music and get a story out of each separately, but by combining the two, I hope to give a richer experience.I find that once I start adding this new set of storyboards over the music, I start to see where I can cut the music down. Once I start removing bits, I try to be ruthless about it, then come back and reduce the number of shots that go over it and lengthen them where needed. This gets things to flow together more smoothly, while carrying the pace of the story forward. My intention is to avoid lingering on puppets doing nothing for too long, as that is when I want to see more subtle facial expressions and movements, which they can’t provide. This way, I can play to the beauty and strengths of these handmade puppets in nice closeups, then move the story forward with bits of nuanced movement and a steady progression of shots and story. This is basically what is different in how I am trying to approach creating a film with puppets of this kind.Good compositions and nice broad movements can communicate the right emotions for the story, so long as we don’t linger over long on them, as we might in an animated or live action film where that lingering allows us to showcase more subtle emotions. Coupled with poetry, the scenes have the potential to convey the emotions of the stories in a fresh way.

Tumbling puppets

I spent the day, between waiting for the electricity to come back and go again, by cooking, and photographing shots for the latest draft of storyboards for “Sohni”. I photographed scenes as I storyboarded them in drawing initially, then walk around the stage, looking for other interesting ways of telling the story. This gives me material to play with in the edit. I can see how well the shots connect and what more I can gain from each option.Using the actual puppets allows me to work with them with their actual scale, and details. This is close to how it will be shot, so as a sort of test run, it is hugely helpful. Once I get a photographed draft of both stories down, I can scrutinize things further and try adding or removing other shot ideas.It takes a lot of back and forth of putting too much material in, then cutting it down, adjusting it over and over until it feels right. Shots where there is more to see and understand need to slow down a bit, while others need to move faster. On “Sorath” I am also trying to play with ideas that you could not do in a live puppet performance, but with editing and quick cuts, can accomplish in a film. I have a scene where a character falls down. You would not be able to control the poses of the fall well enough to not make it look like a rag doll if it were performed live as far as I can figure. By taking that movement and cutting it into 4 or 5 shots that interconnect, each shot provides a starting pose and moves towards the next pose, before actually cutting to a shot with that pose. It can work at speed. As a series of stills it works well, it will be interesting to see it in motion. These are the kinds of things that are fun to experiment with in telling the story and playing with the medium.

Lack of electricity

This one keeps trying to make a nest in the kitchen.

The electricity is a huge problem. I try to cook or run errands in between, but when the battery on my laptop gets low and the electricity goes so often it is really tough to get into a flow of working. I try my best to use battery powered lights to take photos for the next batch of shots, even if the lighting is completely inaccurate. That way I can get the staging, as in the position of all elements in the shot down. I will add images that represent the kind of lighting for each shot, as I can’t gain enough control over the lights I have to direct them enough for that. Besides, the electricity goes every other hour, so it is just fortunate when the battery powered lights are running so I can take photos and see the puppets.I tried to get some work done. I did add some more photos and edit the ones I had taken the day before in the story I am working on. I ended up cooking some karela (bitter gourd), which turned out well.I have to do something productive when the electricity goes every hour otherwise you completely lose that momentum to work. In the evening, the electricity went out before 6pm and I was in darkness until well past midnight. What kind of crap is that? Apparently, since there are regional elections going on, political parties do this nonsense to keep people from congregating too much. Seriously? If that is the case, the entire neighborhood should be at the ruling party’s doorstep instead of the kind of idiotic concerns the general public often expresses. Such as religious policing of each other and worrying about nonsense that does not in any way reflect the duties of elected officials.Well, since the electricity was gone for so long, I drank some tea with Umar when he got back and I will work the night shift along with him tonight. He is working on the throne room background for Raja Rai Diyach in Sur Sorath. It is the largest backdrop in the film, and features some challenging elements, but it is coming together beautifully. I finalized another design the other day, as well as some more designs for huts today. We are getting there with all the tasks needed for production. I used the time without electricity to make a bunch of phone calls. I checked in on my friend Ustad Amb Jogi (music director and composer on “Risalo”). After his multiple heart attack, he had his angioplasty yesterday and is recovering at his home.I checked in with puppeteers to organize my trip to audition the four to work with me on this project. Khursheid or Sadar sahib as he is called helped take me to different puppeteer families in the three locations they live in Multan months ago. This time, we will put a call out to puppeteers in all three cities that they live in, Multan, Bahawalpur and Khaniwal. I know what I need from them, now let’s see who can handle something new and bring the subtle performances I need. I will certainly help, but I need people with skill and the ability to listen and try something new, while, I hope, bringing something of their own to it. These communities have had it rough. I learned that many of the puppeteers were in Lahore, selling livestock in a market.These are performers, but at the moment, they have not changed with the times and no one has really helped them to do so either. I hope to go settle which puppeteers I’ll hire for “Risalo” next week.

Beginning Sohni

The boost from getting a good edit on the Sorath storyboards helped me get started on the next story; Sohni. For Sohni, I like a lot of what I did in the drawn storyboards last year. Certainly the first portion of the story can be translated directly into photos with the puppets. It is actually a lot of fun to see some of the drawings transformed into photos with the actual puppets. What was imagined, begins to come to life. There are still backgrounds and proper lighting and of course the puppet performance to be added, but you can start to see a glimmer of what could be.Taking photos is nice, because I can start to see the actual elements that will be photographed and stage them accordingly. The richness of these handmade puppets starts to encourage me to bring the camera in closer where it fits with the story. Part of the beauty will be in those details that you would not get to see during a live performance.I also take a lot of extra photos of other angles that I can play with in the edit. It is a quick way of experimenting and seeing what choices beyond what I have previously storyboarded could come out of this process. Each revision of script, storyboard or music is another go at telling this story. Each progression leads to that final telling of the story, in the form of the film which is what people get to see at the end.

Coming to life

A rough composite onto the background for storyboarding.

After days of working on this latest draft of storyboards, ruthlessly removing portions that felt the slightest bit unneeded, I began to see things connecting. The elements of the story start to flow together, even with still images, rather than moving shots, once the extra bits are removed and the right shot choices are placed in sequence. I want the viewer to be able to follow what is important from shot to shot without making them look left and right with each cut.I try and break down actions to make sense within the range of movement and expression that these puppets can conceivably express. I think they can do amazing things, but I also have to keep in mind the type of movement that the puppeteers I am working with will be able to bring out in the characters readily, or with a bit of direction. That is a way to double check that what I storyboarded communicates even at a simple level. With great performances, it will only get that much better.There are a lot of things that are quite slow and tedious to do. This weird magnetic timeline in Final Cut Pro X makes me spend a lot of time zooming in and adjusting clips frame by frame to make them connect, so as not to leave gaps. Besides that, the process to add a visible scene and shot number label to each shot is so ridiculously tedious. There must be a better way. A few less clicks and double clicks on that many shots would make a difference. Still, despite many steps being tedious, the process of seeing your story come to life visually against the backdrop of the score is a beautiful thing. Suddenly things seem possible.

Challenges?

After a nice breakfast of channai, naan, left over aloo gosh and tea, courtesy of friends, I set things up and got ready for the day’s work.I’m storyboarding a difficult dance sequence that involves eight puppets. It is fun to place the camera in different spots and see where I can create the most interesting way to tell the story. The challenges are many, as I am just one person, I need to get the puppets to stand or sit and approximate the kinds of actions they will perform in a given shot. Puppets are meant to be performed with, so without the performer, they are quite lifeless.On top of that, the electricity is going out even more often today. I have a few battery powered lights that will last a short while, so I keep moving forward using them. My laptop battery runs out pretty quick when I am editing.. Things look rougher than I would want, since I can’t create the correct light setups or poses on my own, but I think I can get the information I need to shoot the film.It’s a struggle. I feel like the mosquitoes are over excited today, adding to the discomfort. Any one of these issues can make it difficult to concentrate and encourage my mind to wander to anything other than the work at hand. My computer freezes, then I have to reboot it and wait for the hard drive to slowly connect. Somehow, I need to keep on task and move forward. I am making good progress, so I have to keep at it.After a few too many computer crashes and no electricity, I took a short break. I walked out the door, past kids playing in the street. As I passed an empty lot with a few dumpsters in it, there were other small children playing in the dumpsters. They were probably throwing away tree trimmings or looking for recycling, but they were still being kids. I saw a man I have passed several times lately on the sidewalk, selling sunglasses. He switched street corners. It’s a tough spot to sell.I was on my way to Bulleh Shah kulfi, and as I reached, I saw that it was shuttered. It is sunday after all. So, I walked back the opposite way, picked up a bottle of apple soda and thought hey, let’s live a little, and picked up a small bottle of leechee soda as well, then walked back, my head a bit clearer and my challenges so much smaller.

Cutting it all, nothing is precious

I spent the day setting up scenes and storyboarding. I find myself cutting out some beautiful sections of music from the film as they would prolong scenes without adding value to them. This music will sound great on the accompanying music albums. It is scary to put these pieces together, because there are moments when it all feels terrible. That is normal. You just have to throw the pieces together, then refine, edit, smooth out transitions, swap out shots to help things flow better. I just keep chipping away at it until it is better and eventually, as it was during other stages of the film, it can become beautiful.Introspection is helpful, losing all confidence is less so. It must be time to sleep.

Evernew Studios

I went over to NCA to talk to the Film and Television department. It is important to look into all options and resources regarding shooting “Risalo”. I met with my friend Suffi Bilal and caught up a bit. My coming over was last minute and unfortunately the department head was quite busy. He tried to make time, but there was just too much going on. I met with some other people in the department and was able to bounce ideas off of them and get some names of possible dps. This is just as a backup in case down the road other plans do not work out.After that, I walked over to catch a wagon (those tightly packed vans) to Evernew Studios for a meeting with Nomi sahib. The wagons were so full that the drivers shook their heads “no” as I flagged them down from afar. Usually, they would be overflowing with people and they would stop and squeeze you in Tetris style. They were packed beyond even that today. So, I waited, and several past with the same problem.I flagged down a rickshaw and took that instead, after the usual negotiation. Name a price, they give you a counter price. You repeat your price and walk away. So, with the right price (I usually end up paying too much), we were on the way. After getting through the usual blocked roads, we got there. I walked in and met up with a member of Nomi sahib’s office (Tryangle Studios). I had some water and tea, then got to editing a bit. By then, Nomi dropped by and we discussed his production and equipment rental companies. He could help organize and setup the production with one company and then get equipment through the other. He seemed genuinely interested in making this film together and all the next steps on my end would be to finish the new draft of storyboards while he took my current numbers and put together a budget.He was headed to Qalma chowk and offered to drop me there, where I could get on the metro to return easily. He was going to meet production friends, some of whom I know, so I tagged along for that and met up with Sohail sahib and shared a scene I had boarded. He was appreciative and could begin to see the elements coming together. His enthusiasm was very helpful. He also made some good suggestions as always. Some regarding possibly showcasing the film and episodic form, or localizing music were good thoughts to keep in mind for future possibilities. You just never know which direction things will go, so it is helpful to have through through options before hand.I added the rest of the photos from my last session to the edit. There are definitely places where I could remove shots and lengthen some. I head home after, feeling a lot better about these next steps in the process. There is a great deal of work to be done before we are ready for production, but those steps are in progress.

Another draft of storyboarding for "Risalo"

Some days are more difficult than others. Dealing with electricity issues, missing family and friends, and the huge weight of tasks on my shoulders with no certainty in regards to the outcome or timeline is tough.I spent the day storyboarding scenes for “Risalo”, using photos and mocking up the scenes with the actual puppets and backgrounds. This way, I can actually stage the shots and position elements as they could actually work, rather than trying to figure out those logistical issues for the very first time on set. It is kind of how I go from storyboards to previz in 3D animation.I was able to pick up the pace a bit and accomplish more on this day then the previous ones. I just need to get these photo storyboards in for the whole story, then I can focus on refining it.In the evening, Imran brought by his friend Nomi to take a look at the puppet stage setup and discuss “Risalo” with me. He is a director of photography, a good friend of Imran and Sohail’s as well as someone who both puts together productions and deals in rental of production equipment. Those are the types of skills I need in order to get this production finished.He was interested in partnering up on this film. It would be great to be able to focus on the creative side and get his help on setting up the production, gear and crew.

Engage the viewer

I continued putting together basic mockups for shots using the actual puppets and backgrounds to create storyboards. I’m working on a scene that had not really been fleshed out before. It was the only one that I had never gotten around to. It features a lot of walking around in the desert with the passage of several days, as the character goes through a lot of internal turmoil.How do you make something like that interesting? I have been experimenting with different ways to show the desert. Adjusting the stage setup offers a lot of variety, as does lighting. In addition to this, as the narration is poetry, it is a lot of fun to play with the visuals and not try to mimic the words. The viewer is already digesting the meaning in those words. That information is there, so I can play with other moments in the visuals that can add to the story, rather than repeating what has already been communicated. This is how I am approaching this film and how I hope to keep the storytelling engaging. In terms of lighting, I don't have lights that can be focused and with the electricity going every other hour, I just need to use battery powered lights so I can see things in the photos I'm taking for storyboarding. I can add lighting references later which can be used to put together lighting setups.

Storyboard and re-storyboard

I spent the day updating my blog and figuring out how to start the next draft of storyboards. Sometimes people look at the painstaking detail that goes into putting together a film and wonder if it is really worth it. People wonder why a film needs to be storyboarded over and over again. If only they knew how many more times the story had been written out in notes and thumbnail sketches before even reaching that point. This process is very necessary, and you actually save a lot of time and trouble by putting in the work up front in the planning stages.Last year, before I had music, puppets and backgrounds, I took the detailed notes and script that I had assembled for the film and storyboarded it to a rough recording of myself reading the poetry slowly in Urdu. I had to guess at timing and imagine that with music it would be better. It was a long process, with a lot of revisions, but that formed the basis for recording music with the correct timing and mood, based on each scene as well as determining which props and backgrounds needed to be created.Now that I have puppets, music, several backgrounds and a bit of a stage setup, it is time to storyboard the film taking advantage of the flow of the music as well as the flexibility that the stage setup allows. I have worked hard to open things up to allow “Risalo” to break out of the single vantage point view of a stage performance, to strike a balance between that tradition and a more cinematic experience. Today, I began taking photos and mocking up camera movement and staging to create a final set of storyboards based upon which we can shoot this film. This is where I can hopefully work out issues of timing and flow to make the best film possible.I ironed another background and started playing with how I position it in relation to the stage, puppet and camera. I’m off to a start at least. Let’s see how much I can do before heading to Multan to audition and rehearse puppeteers in the coming weeks.

Aiwan-i-Iqbal

I woke up to some breakfast with friends. After that I worked on my blog and started to break down a sequence from my film to create a new draft of storyboards. When working on the blog, it is a strange feeling to read about where I was two months ago. The snail’s pace of progress, the challenges of every tiny effort are still painful and weigh on me. I am thankful to be far past them, but it is sobering to be reminded of how much fortitude it takes to continue.In the evening, I went to Pak Tea House with some friends. We had some chai and snacks before heading to a weekly literary reading at Aiwan-e-Iqbal, located behind the Alhamra Arts Council. We were early, so I walked around the gallery. There are a lot of beautiful paintings. Many are by Aslam Kamal, a painter and calligraphy artist whose book I have enjoyed. It was really interesting to see how he played with figures and text, as well as using decorative shapes and motifs to create forms.After looking at the gallery, we walked downstairs to one of the conference rooms and waited. People trickled in. Many were keeping up on some local election results that were due to come in. Apparently this weekly literary meeting has gone uninterrupted for some 76 years. Though it seemed that punctuality was not something that had been sustained.On the roster for the evening was a ghazal (poetic form), a literary critique and short story. Each piece was followed by an open discussion on the merits and flaws of the piece, while the writer had to remain silent and the critiques were directed at the chairperson.It was a good discussion and I enjoyed being there to get some nourishment for my brain. The pieces were less inspiring than the fact that this meeting exists. Afterwards we grabbed some egg kababs and naan and watched the motorcycle processions cheering political parties, before we head home.

Lahore Photo walk

So, I went to a photowalk put together by the Walled City Authority. It was exhausting, but so much fun! Umar and I head over there and met up with our friends Mohsin and Ifthikhar. I really needed a break from being cooped up in a room, editing music.Walking around the old city with friends is a great way to remember why I love this city. Each time I come here, I end up walking down different lanes and discovering new places. We friends got separated many a time during the walk, but invariably found our way back. It was a lot of fun to see all the people out, taking photos, and enjoying the true Lahore of the walled city. There were so many groups of people walking around different sections.Part of what was special about this organized walk was the access to some havelis and the Fakir Khana Museum. The Walled City Authority, who organized the walk, had arranged to give us access to the inside of these wonderful places. These kinds of events are so important. People need to have productive ways to have fun, where they can learn and connect to their culture and community.At the end of the walk, we made our way to the Lahore Fort, where they organizers fed us biryani and treated us all to some live music performances. I felt very grateful for all the effort that the organizers put into making something so fun and special. We also ran into my friend Waqar who had been on the walk, once we reached the fort.

Work you do and don't

I had to do some bank work today. It is always a pain. I know it will take hours and may involve trips to several places and then there’s still a good chance that the task won’t get done. I had been editing Sur Sorath, the story of the musician Beejal who challenges Raja Rai Diyach, the king. I edited for a good 5 or 6 hours, cutting pieces down as far as possible. Then afterwards I will go through each piece and finesse the transitions over and over until it connects cleanly. It is fairly exhausting work. It is all pretty messy sounding until you get the pieces connected just right so the transitions are smooth and that takes time. The Sindhi version is starting to flow smoothly, but I just patched together the Urdu version so the transitions sound terrible, until I go through and work on that further. The initial task was to just cut the different sections of the music down to match the length of the Sindhi version. It is a complicated and tedious process. I hope I can pull it together the way I want. The good thing about it is that there is room to refine it further later, so long as I have the main bits down in terms of timing.So, after doing that, I went out for a walk to do some tasks. I picked up a roll of cotton for Umar to use on the beautiful king’s court background that he is sewing. Then I went to a series of banks, waited, waited more, got sent all around and got half of my tasks done. The other half of the work will have to be done another day. I didn’t have the energy to suffer through more of that for today.I picked up potatoes, spinach and tomatoes on the way home. I’ve been cooking to keep some relatively healthy food going and keep costs down. I have to ration to get through the end of this production. It is what I have been doing the whole time, but a little care now will give me a lot of peace of mind when I head back to LA.I spent a couple of hours cooking. It is a nice change of pace and I feel like it helps me get out of work mode for a bit before I head back into it. I’m trying to arrange things in Multan so I can head there and audition puppeteers and hopefully shoot a test which I can use to pitch to folks for their support in terms of the production of the puppetry portion. I feel like the pieces are lining up and I am trying to stick to a schedule that can help me get things done the way I want, in an efficient way.

Process of design

I spent the day editing. I managed to send some help Ustad Anb Jogi’s way. It’s tough for anyone to survive without the ability to earn. Sudden things like health problems can really knock anyone out. As it is, I feel like most people everywhere are just getting by, so how do we cope when things happen? I thought about this as I listened to the work we have done together and pieced together the framework of “Risalo”.Umar and I are trying to figure out a design for the outer section of Raja Rai Diyach’s fort. I began a design a few weeks ago. I like some bits and several others just are not working. It takes a process to get to that final design that feels right. So we put together some shapes and start playing with flat colors to overlay, since the end result will be sewn out of pieces of colored cloth, selected based on whatever design we paint and finalize digitally.We end up talking about the design, then painting in sections, suggesting colors to break things up, push things back, bring things forward. Then when it gets overworked and messy, it is time to clear things up, and get back to those basic shapes, possibly retaining new bits of anything that seems like it may be going in the right direction in terms of the shape, the size and focal points we wish to create. The court scene that Umar is currently sewing, went through a similar process, before we felt the design was effective and had the beauty, and a different influence other than Mughal architecture in its shapes and design. Raja Rai Diyach is from about the time of the Gandhara civilization who were Buddhists. So I found some photos of an old fort in Junagarh and interiors from an old Buddhist monastery to pick apart pieces and create a design that provides the space and technical requirements needed for the actions that will take place in it as well as meeting the design requirements of the time and place these stories come from. There’s no way to be historically accurate and that is not my purpose anyway. I’m just taking pieces of influences from different places and then as Shah Latif did, wrapping it in Sindh and my own ideas.

To see the light of day

I went early to Checkpost and digitized the problem DV tapes, over and over until I got the bits I needed to piece the rest of the music together. It is a painstaking process. Sohail sahib showed me a very cool stopmotion project that he had dp’d. I hope to see it finished one day. It is a reminder as to how many great efforts never see the light of day, despite a great deal of work, just because life gets in the way. I don’t want that to happen to “Risalo”. It would be very easy to let go at any point, with all the challenges and the enormity of the project, but no, I started this because I want it to be made and for it to reach the world.