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Found 5 results

  1. Hi All Anyone fancy going to the NRL All Stars V Indigenous All Stars Saturday 12th February 6:45pm Skilled Park, Robina? Tickets start at $30 if you fancy going drop me a private message
  2. Guest

    Looking up at the stars

    Hey there - going for bizarre question of the day. My wife and I are on our final reccie trip over the next 3 weeks. We are staying in a place in Woodvale whilst doing the exploring. Whilst we are there I really want , one evening, to take my wife to a place so that I can show her the stars. I have never been able to forget looking up whilst on Fraser Island and being stunned at the beauty of the sky when there is no light pollution. I am hoping to give her at least a glimpse of this wonder. So can anyone recommend a place to drive to thats perfect to just lie down and see how small we really are ? Cheers ScottyB
  3. Today i am feeling like one very lucky lady,after last nights disaster the only part of my hubby that is injured is his ego. Not really sure what happened it all happened so quick,but we have a very very steep driveway & last night it was very wet from all the rain. Hubby was bringing the car down & the next thing he knows my lovely mazda 6 has a mangeled front end in colision with hubbys work ute. After we had both stopped panicking from the shock, hubby rang his boss - yep an aussie, who all he could do was laugh his socks off !!!! :wacko: At 5am this morning hubby tries to set off for work but his ute is still in the garage with my poor car stuck up its arse, so we call the tow men & by 6.15am they are here with us waking up the street. Oh what joy life gives us, still it could of been alot worse & as it wasnt for that i am thankful for - Guess the long short of it all is live in a property with a decent flat driveway & take extra care when its wet. Thankfully for hubby, its our wedd aniversary tomorrow so i wont shoot him this time !!! Take care Guys & Gals you never know whats round the corner. Ju x (stuju)
  4. Guest

    Peter And The Stars

    PETER AND THE STARS By Desmond Zwar Peter Frampton, 45, is a handsome man, with run-your-fingers-through grey hair and white-as-white teeth. He could easily be one of the movie stars he daily transformed for 27 years; tidying up bags under their eyes, giving them glamorous, undetectable false hair; sympathising with their stories of love, hate and anguish. But Frampton’s lips are clamped tight: no indiscretions. Hailed as one of the top three make-up artists in the world, British-born Frampton has departed Hollywood carrying his secrets back to Australia. (I discovered there was no way to persuade him, now sitting at his ornate desk on the sunny Gold Coast, to reveal precisely how badly one star behaved when he was younger, causing Peter to quit the lucrative world of make-up for five years. "But it happened.") Get to know him and he will however, reveal some of the dark secrets of paint-and-latex that make the beautiful people appear beautiful when they’re hung over and have had three hours’ sleep. The veteran of 70 movies, his own Academy Award (for ‘Greystoke’) and two nominations, Peter has just opened a plush academy - The Frampton Institute of Cinemagraphic Make-up. For $4,550 and three months’ intensive tutoring, he promises you can emerge with the necessary talent to become part of the flourishing Australian movie industry which Frampton forecasts is soon going to be ‘huge’. He and his Brisbane-born wife, Heather, have invested $250,000 to bring Hollywood to the top floor of 140 Bundall-road, Surfers Paradise. Reproduction period desks, pneumatic chairs, cinemagraphic equipment, $1,000 make-up kits for each student - and a screen where Peter can demonstrate what he did to Mel Gibson, Sir Alec Guiness, Peter Sellers or Bridget Fonda (‘a gorgeous lady’). For instance...the morning-after-the-night-before face: "At 5.30 in the morning, the face is slack, maybe a bit flabby and a different shape than it is going to be on camera in two hours’ time when it has taken time to calm down. Therefore you don’t want to overdo the make-up which, by 8 o’clock, could look very over the top." Red eyes. "A difficult trick to hide them. There was a French substance called Coleur Bleu, we once used, but it was banned. You can get another one now that does the job. Liquid blue stains the white of the eye slightly blue; and just as blue washing powders stain clothes slightly blue making them look twice as white, the same thing with the whites of the eyes. It has an action on the capillaries as well, which stops the veins in their tracks. You explain to the artist that if they use it too often they run a slight health risk." Bags under the eyes. "You can apply a substance under the foundation that actually shrinks the skin, tightening it as it dries. Got to be careful using it; when they get under the lights it might look like badly done plastic surgery with the eyes popping! The secret is to have a good friendship with the lighting/cameraman. A bag throws a shadow lit from above; you ask the lighting man for a favour: ‘Mary X is not too clever this morning. Stayed up all night. Maybe you could bring the lights up under the lens and a reflector under her?’ Teeth. "It never happens that an American artist is seen with bad teeth. They’re all gone; taken off the gums at 12 years of age and beautifully capped. English actors’ teeth are not so good. Fans have learned to love the gaps and the twists. But if the teeth have been stained by too much red wine or cigarettes you can bleach them. You put on a gum-guard, paint the teeth with bleach and leave it on. They remain white until the smoke and wine take over again." Wigs, Peter says, should now be completely undetectable even on a wide screen that magnifies the head to 12m. high. Modern lace and hair-knotting are so fine now that it is virtually impossible to see where lace has finished and skin begins. And confidentiality. He tells his students: "While you’re touching a star’s face, soothing her, she may well tell you - as they have told me - their innermost secrets. Their loves, their worries, their hangovers, their substance use. I have been confidante to the biggest stars in the world and that means being trusted. They feel secure with me and reveal confidences that could possibly put some of them in prison. You are talking to people who may be hopelessly lost; they’re surrounded by managers, ‘advisers’ and sharks. They don’t know where to turn. Or they may be deeply, gloriously in love and they’re bursting to tell someone. Your responsibility is to keep it to yourselves." He says American movie-makers are poised to bring big budget movies over here to be made, so long as they can be assured there is the talent available to work on them. "It is an industry screaming for good technicians." His sophisticated projection equipment swings into action and he ‘stop-frames’ Mel Gibson, from his last film Braveheart: "His eyes are a startling blue and piercing; they need no contacts, or playing around with colours in the lab. Mel is just as stunningly beautiful to look at off the screen as on. We gave him hair back-falls which took about an hour to put on each morning. I first met him when he was very much younger, and much wilder. He is not just an artist now, but produces and directs. He’s a man with a million pressures. When our 14-hour day finishes on the set, Mel has to go and cut, see edits and rushes - and carry the responsibility of a film costing $100 m. Alcohol isn’t part of his life any more; he’s settled down." Then Anthony Hopkins. "One of the greatest actors alive. A face that looks lived-in; a man with liquid blue eyes. A man women find attractive for the opposite reasons they find Mel attractive. He’s a complex character, has a fabulous wit and an extraordinary gift of mimicking. Peter Sellers was the greatest mimic, but Tony is almost as good. You leave the room and you can hear yourself talking to him inside, being stitched up. He tucks away all the voices in his head in case he’s playing somebody like you one day." James Garner, Liam Neeson and George Michael "all a delight to work with." David Niven : "I worked with him when he was dying from that dreadful muscle-wasting disease. If you could get him on the screen first thing in the morning he was fine until about midday; then he slowly began to w-i-n-d down and become incredibly tired and his voice became slurred. In the South of France we were making a movie and at night in the restaurant his presence, his kindly voice and his charming anecdotes kept the whole place enthralled." James Cagney: "Polite, well-mannered. ‘Where would you like me? Would you mind holding that board a little higher so I can read it?’" And there is diplomacy. "You get to know the leading lady has fallen out with the leading man; or the star playing under her. You cannot bring them together in the make-up room next to each other. So you must have a system where one is being made up while the other star’s hair is being done. And you swop over, using a radio-call system so they don’t sit staring into the same mirror. You have to be Stage Manager and run Make-Up at the same time." And diplomacy is needed when a bad-tempered, hostile artist slumps meanly into the chair at 5.30 am. "You don’t start chatting inanely about what a jolly good day it is and what exciting scenes she is going to be involved in that morning; you shut up. Say nothing." The ever-diplomatic Frampton, son of England’s most famous make-up artist, Harry Frampton of Ealing Studios fame, chats about the difference between English-trained artists and American-trained artists. "English-trained actors tend to be the same in front of the camera and behind it; if they’re outrageously camp in front of it, that’s how they’ll be in real life and will remain so. Not so the young Americans. I have worked on two of the hottest, biggest boys in the acting world. They are specially chosen because there isn’t much personality there. You are talking to someone whose eyes are really quite dead. Give them a script and they take on the persona of the part and it remains with them. If they’re playing a murderer, the fellow in the chair you are working on is a murderer." He laughs at his first meeting with Dustin Hoffman for ‘Straw Dogs’. "To break the ice I’d put a ‘whoopee’ cushion on my Father’s make-up chair so that when Dustin arrived and Father sat on it there would be this awful farting sound: Pfffffft! Dustin arrived, said ‘Hiya, Harry!’ and instead of sitting in his own chair, plopped down on the cushion. He thought it was hilarious. He went on the set with a cushion under each arm to play a love scene with Susan George." Up there on the white board are two sketches he has made of Fagin for a coming Gold Coast production of ‘Oliver’. "I made up Ron Moody for the movie and this Fagin is going to be as good, for he will be my trade-mark. With my facial production; my students must be able to see how the nose and the face cast blend so the latex fits absolutely perfectly. "After three months they will be ready to be told that a murdered man needs a shot-gun entry wound here, and an exit wound there, with brain matter on the ceiling and all over a car. And they will be able to say: ‘I will have it ready in an hour-and-a-half.’ "They must be ready to do their work on the edge of volcanoes, on glaciers and in the jungle. Americans want to be taken from their homes by movies to those locations. It is a tough job involving 14-hour days, six days a week. The rewards are there - I was earning $6,000-$8,000-a-week. I decided to stop filming and to teach in Australia."
  5. just wanted to know what the score is with regards to pop stars footballers and other celebrities gaining a permanent residency to Oz. all these people on this forum with trades and skills having to fill forms and wait for months on end yet some pop star can just buy a kid from its parent and bring it into the uk when shes not even bloody British yet alone English. so has Oz got the same bullshit as the UK is there a way i can just forget the tra or whatever and bribe some money grabbing council or MP. is life so unfair out that way too, some lazy good for nothing layabout who wakes up at lunchtime kicks a ball about for an hour gets paid £50k a week and snorts coke on a saturday night while cheating on his missus, does he get permanent residency without all the crap. or what about some untalented pillock like pete doherty the only lines he remembers are white yet he gets kate moss and she gets a pay rise for being a druggie what a poxy world this can be whats the chance of me claiming asylum in Oz seriously if i stay in the uk i think my life could be in danger i will go mad and start repeating myself seriously if i stay in the uk i think my life could be in danger i will go mad and start repeating myself