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Stateline (ACT) -

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(generated from captions) Moving through the south-east, there's

south-east, there's the combined trough and cold front

which will be centred over

Mount Gambier tonight moving through central Victoria tomorrow which could result in

that State's most significant

weather event in 15 years.

Very wet and windy in Melbourne, Sydney and here in

the ACT.

There's the moisture from the

north combining with moisture

being fed in from the Coast.

Those winds will strengthen

tomorrow and could get to 55 or


A pretty miserable weekend

coming up, but tonight the

Raiders are playing for glory

and so a green-coloured flower

is essential. You musn't have

a flower, because I know who you're going for!

Thanks Mark. A brief recap of

our top stories - our top stories - senior Liberals pleading with the

three Independents not to back

what they call a what they call a dangerous left-wing alliance. The

Independents have said they'll

make their final decision this

weekend. And Paul Hogan will

be allowed to return to the US after reaching an agreement

with the Australian Tax Office.

That's ABC News for tonight.

Go to ABC 24 or ABC online for

updated bulletins and I'll be

back in a minute with 'Stateline'. 'Stateline'. See you then. Closed Captions by CSI This Program is Captioned


Hello again, from the other

side of the studio, and a

different perspective on the

ACT - this is Stateline. Coming

up - the television make-up

artist who won annemy and brought

brought it home to Canberra.

That story shortly. First,

though, a new instalment in

David Headon's history series.

You may remember the last

episode focussed on Lord and

Lady Denman. In fact all recent

episodes have featured the

person al tis of the

individuals who stood on the

podium on March 12, 1913. We've

shown much much of the

surviving original film from

that day but in this episode

David Headon turns attention 20

those on the other sides of the

cameras and the director of

that footage, one Raymond

Hollis Longford.

Longford came down with Longford came down with

his own cameraman who was also

well known in the industry, a

man called earnest Higgins.

Between them they got money

shot after money shot. They got

the arrival, for example, of

the model T Fords and the

wagons that were coming from

down at the Molonglo River.

They call came up to

approximately this area. They

got the politicians, who were

chatting up here in front of us

on the way to what is now the

Parliament House, chatting

enthusiastically. They got the

arrival of Lady Denman, and the

beautiful flower girl who met

her. They got stray dog after

stray dog who were very much

involved in the action. They

got the arrival of Lord Denman,

who came in the same direction

from the Molonglo, coming up

this way, he came up, he

greeted all the celebrities,

just up here, and then of

course between them with the

other s, including Prime Minister Andrew Fisher, they

were atop this podium. We had

first the foundation stone

ceremony. We had, second, the

naming ceremony. We then had

Lord Denman going down with

Andrew Fisher to the march past

down towards the river. Everyone was delighted with

that. And then you had just for

the record the tele Og ra

fists, or the reporters, who

were sending this news out to

the world at, we are told, some

200 words a minute. Basically,

Higgins and Longford got

everything needed. Longford and

Higgins didn't get any footage

of the luncheon that followed

the main event, or if they did

none of it has survived. But it

doesn't really matter because

what we have for posterity is

19 superb minutes from early

Federation Australia's

equivalent of the American

legends DW Griffiths and Cecil

B demill. Longford was between

pictures and Spencer's pictures

who employed him sent him down

here. This was the nation's

great footage. Stage performer,

film star, film director, one

half of the famed Longford-Lyle partnership, Raymond Hollis

Longford has quite a story to

tell. And to tell it, I've

headed to one of Canberra's

special places - one of its special

special buildings, the

1929-1930 Art Deco former

Institute of anatomy, the

national film and souvend

archive. Let's head on in.

Quite appropriately, on

the wall of the National Film

and Sound Archives gift shop we

have a poster promoting Raymond

Longford's classic of 1919 -

'The Sentimental Bloke'. The

jewel in the crown of

Australia's silent cinema. More

of the bloke shortly. But we

will will get our detailed

information from the fine National Film and Sound Archive

library. It will tell us

everything we need to know

about the man who caught

Canberra's foundation stone's

naming ceremony on film for the

nation forever. Raymond

Longford was born in Melbourne

in 1878. By his early 20s he

had served in the Boer War in

South Africa and also earned

his third mate's ticket to sail

the oceans of the world. But in

the early years of Federation

in the new Australian nation,

he turned away from the sea and

a failed marriage to begin a

career in the theatre. Immediate stage

success in the country towns of

Australia and New Zealand, soon

led to silver screen office.

The lure of the relatively new

sin mat ic technology proved ir

resistible. Cess 'Success' in

the knew medium came so quickly

that by the beginning of 1913

the year Canberra's foundation

stones had been laid, Longford

had already starred in several

important film of the infant

Australian cinema. Including

two popular bushranger fut

nurse 1911 - Captain Stafflight

and Captain Midnight. It became

obvious that local audiences

couldn't get enough bushrangers

flick, probably starting with

the legendary Ned Kelly film in

1906. The problem for the moral

guard guardians of the year is

virtually all the bushranger

films being made were conspicuously pro bushranger

and, worse, anti-police. In 19

is 11, the year of Longford's

two forays into the onra as

starring actor, NSW politicians

were so dis concerted by the

emerging social trend that they

legislated to ban bushranger

films - entirely The ban,

however, had no impact on Longford's personal rising

star. In fact, the decade from

1909 to 1919 was a landmark

period for both Longford and

Australian cinema. For it was

in 1909 that Raymond Longford

started working profession ally

with 19-year-old Lote Edith

Cox, 12 years his junior. Lott

ly Lyle as she would become

known, who would in time be recognised as the most significant female star in

Australian film. It seems

likely that Longford and Lyle

became lovers when she was in

her early 20s. They were, as

one biographer put it, husband

and wife in everything but

name. Because Longford's

estrange ed first wife, a Catholic, would not give him a

divorce. Longford and Lyle

became one of Australia's became one of Australia's

culture s most potent and

profession ally productive

relationships but it was a

relationship destined to be

tragically cut short. Lotty

died of TB in December

1925. When Longford died, well

over three decades later, his

second wife had him buried in

the same lot as Lotty in

Sydney. Every year on Lotty's

birth, Marion Dooley places a

single rose on the luminous

plot. Longford's precious

Canberra foundation film of

1913 fit s neat ly within his

career's most significant

decade. Before 1913, he was

best known as a talented actor,

to become good enough to be

trusted with lead roles but

when a gap appeared in his busy

schedule, penceers, keen to

develop the directing skills of their stable star, pointed him

south to the Monaro region and

the new capital. In the years

following 1913, Longford's

output as director was

prodigious. The silence of Dean

Maitland in 1914, a Maurie

mermaid's with Lotty playing

the daughter of a Maurie mother

and Mutiny on the Bounty in

1916, with Lotty playing the

role of the compelling Nessie

Heywood. When came the banner

years for the Longford-Lyle

partnership. A creative team

with even more impact on

Australian culture history than

this of the Chicago, waltder

Burleigh-Griffin: In 1918, the

long - the Longford-Lyle

partnership produced the Woman

Suffers. In 1919, 'The

Sentimental Bloke', based on CJ

Denises classic of Australian

lit ra tur. In 1920, the film

On our Selection based on the

runaway bestseller.

The woman suffer Suffers

lovingly re-created by Marion

Dooley at the National Film and

Sound Archive a few years ago

from footage that fortunately

has survived is grand and compelling melodrama. A young

girl, wronged, suicides,

whereupon her brother bent on

revenge on the seducer in turn

seduces the man's sister,

played brilliantly by Lot #2rkz

y Loyal. The - Lotty Lyle. The

highly controversial the Woman

Suffers and the exploration

into cinematic realism was a robust commercial

success , Providing the perfect

spring board for the

Longford-Lyle team to produce

the arguably one true class on

the Australian silent scheme -

the - scene - 'The Sentimental


Bloke'. The Bloke, as it is

now affectionately known, stoor

ed Lotty in a memorable

portrayal - her best. And And

former labourer and vaudeville

perform er Arthur, hand picked

by Longford after an exhaust

ing number of screen test s to

play Bill, the bloke. play Bill, the bloke. The

sentiment al bloke. Filmed

almost entirely in Sydney's

grim working class superb of

Woolloomooloo, the story

progresses through a

progression of Economic kormic

scenes as worker Bill foregoes

his passion for drinking and

gambling for the love of the

delightful Doreen. A pickle

factory worker. While there

is no doubt that CJ Denis's

abundance of early Federation

slang does not comfort blai bli

make the leap into the 21st

century, it is equally certain

that the stunning

cinematography, deft direction of character, beautiful

performances by the principal

characters and simple, elegant

set location, continued to have

enormous attraction for today's

film buffs. In post World War I

Australia, exhausted, weary and

grieving after massive losses,

they were a revelation. Longford's increasingly

sensitive hand with cinematic

realism impact on a whole

community. Lotty's Doreen and community. Lotty's Doreen and

most of her screen characters -

self-efface ing but proud,

endearing often dare devil and

certainly outdoors types -

embraced a bold concept of

Australian womanhood that had

been developing for well over

100 years. Together, Longford

and Lyle were irresistible. As

a film buy yog fer wrote - in

their films rich with their films rich with humour

and insightful observation,

Longford and Lyle reveal to the

world for the first time on

screen the plucky, resourceful

democratic national character

of the Australian. Longford and

Lyle belong not only to

Australian but also to world

cinema. So when I make the

claim that it was Canberra's

and the nation's great fortune to have to have one Raymond Hollis Longford directing the shots

behind the camera on the dusty

limestone plains on 121913, I

am sure now that I will be

among believers. Longford's

productive visit to the Monaro

plains in March 1913 produced

one more bit of classic

footage, heritage foot age for the nation. What he the nation. What he did after

he had done the foundation

stones and naming ceremony down

below, he and earnest Higgins

came up to this spot, what we

now call Mount pleasant

lookout, above Duntroon, they

set up a stand about where I am

standing, they got the camera

above, they looked south to

what is now Manuka and kington

and they began a slow and they began a slow pan

through Capitol Hill, Black

mountain, Mt Ainslie, all the

way round to Duntroon and the


Many thanks to David Headon,

who in turn thanks the national

film and sound archive s and Damian Porombka, who produced

that story. Before we that story. Before we leave

Raymond Longford, the ABC's Bob

Sanders interviewed him in

1958, a year before Longford

died. And 40 years after 'The

Sentimental Bloke'.

What have you been doing for

the past 40 year, Mr Longford?

Are you still making films? No,

no, that's long thing of the

past. When things got very bad

with me financial and

otherwise, I resorted to the

waterfront. After all was said

in done I was an p apprentice

in Sale and it was the last

refuge to put it that way. But

I became a watch man on the

waterfront. Are you still go

doing that that Is? Yes. Still

at it night and day. How old

are you? My age is 85. That are you? My age is 85. That is

wonderful. You don't find the

work too strenuous? Not a bait

bit. They're a fine lot of

chaps and tbook the business I

would like to see it go ahead,

particularly in Australia in a

very, very big degree, the

making of picture s such as

television that they speak

about today they am not

familiar. With I would like to

see it go ahead with leaps and bounds, particularly the good bounds, particularly the good Australian stories, story

indigenous to Australia, full

of sentment. After all is said

and done, aren't we all

sentimental and myself, well, I

am the sentimental bloke!

These days that new fangled

television business is having a

revival. Steven Spielberg's HBO

production 'The Pacific' was

one of the winners at this

week's Emmy awards in long ang

less. - in Los Angeles. Tom

Hanks paid credit to the

prodigious view. One of them

was Toni French. I can remember

going to careers day in year 9

and in a little folder I found

something called stage make-up. It suggested you It suggested you should do your

hairdressing. So I went to

school to year 12 and I did my

hairdressing in Manuka at

Victorias, which is

fabulous. You can't afford to

not know exactly what you're

doing when you're working with

Hollywood actors. So by having

great people training you, that

knowledge is invaluable and

that sort of what we built on

over the years to take with us on

on to other jobs. So you get a

phone call, and I was one of

the first people sent up to

'The Pacific', so I would go up

there and do preproduction up

there stand start crewing local

people. They went through this

place called the sausage

factory, which meant they would

arrive the morning, go to

costume, get dressed, come to

us get their blood and dirt or

whatever for that seen, go to

the webbing place and get their

can teens an out to the armoury

and get their guns. Then the

military adviser would march

them off to set because he

treated them like soldiers. So

these poor kids that

volunteered and there were so

many of that wanted to be

actors and ended up just really

having a run in the military for nine

for nine months. The

requirements were different for

each script because they were

going from one South Pacific

island to another, each had

various different looks. So we

had a coral outcropy island and

that was really salty, dusty

look and the men looked really

worn out. So we would have to

establish that on the lead


actors but also have the

capacity to put it on every

extra that went through. Others

we were shooting on an

Okinawian Island. So we haddock

Okinawan island. We were

shooting in mud up to about our

niece. When we were home there

was an episode when the boys

had reck leave and they came had reck leave and they came

and hung out with the girl s in

Melbourne. So we had fabulous

'40 s hair Dos and lipsticks.

All the girls cast had to have natural coloured hair. So it

was down to all those fine

details whichshop show on the

screen. Are care to join

us? Write us when you get us? Write us when you get there. Kira Tripodi and I went

to make-up school together.

Shen she went on to the ABC and

I went on to Khan #e8 hle -

Channel 9 and I was doing

prefer err 'Perfect Match' and

other special shows. Else

Erika Wells was another

Canberra girl and we ended up on 'The Pacific'. Sometimes

it's like I can't believe I get

paid for

paid for hanging out with my

friends and hours of torture on

set. So that dies down and I go

up to Melbourne to do Tangle

and Offspring with kir ya. Then

Kira got a call from Playtone

saying they want to submit the

make-up department for an Emmy

and because we're from

Australia you go, yeah, you

know. You fill out the

paperwork and you don't think

about it. At the end of July

you get the call saying Kira

and Toni you've been nominated.

We went to LA on 19 August and

there's the limo to drive you

to the hotel. Then on the

actual day we had to be in the

foyer by 12, which is very

early for a kick ufa. When the

limo takes you to the Nokia

theatre and you're ushered into

your seat. That's the point your seat. That's the point

where woe were both going - you

hear your name and you're out

of those seats, going up there

and then you look at this huge

auditorium and the plan was

that Kira would speak. So she's

giving her speech while I am

waving at actor friends in the

front row, completely

forgetting that this is camera

and my head's a football field

behind and the behind and the whole auditorium

started laughing. So I am not

quite sure what we did but we

entertained them. There is

something fabulous being in a

showbiz town with a showbiz

award. Even the scanners going

through the airport they go oh

my God you've got an Emmy! So

it was good. But it was a

really hard job. 'The Pacific'

for me was nine months away

from home. The from home. The kids are used

to me going away. In some

families it's the dad that goes

away but in ours it's me. The

biggest reaction I have

probably is from other people,

they go oh my goodness how can

you do it? It's just normal.

They get to come wherever we

are in Port Douglas or the Gold

Coast, hang around on set for a

day, have a bit of a holiday

that's my working life. And I

used to think I should change

it but now I just figure it is

what it is. And you know Andy

is so good. He can run a

successful household just as I

can. So, yeah, I don't know. Is

this a modern family? Very

modern, isn't it. It is modern.

Arthur Hill produced that

story. The war artist tradition

goes back before the war in the

Pacific beginning in 1917. We

still sent artists to conflict

zones but sometimes their

styles are as modern as the war

fare. Three recent artists have

been on display at the

Australian war people yam the - memorial with the exhibition

set to travel to regional NSW.

Siobhan Heanue reports. They're conflicts that have

been peppered with political

debate and shrouded in mystery.

From each set of eyes comes a

different picture but send in

an artist and the scenery

changes. I think a lot of my

preconceptions were smashed

when I got over there. I guess

it's always the case that when

I'm over there I just didn't

think it was going to be that

big as an experience, although the landscape the landscape was going to be

so majestic. I think that being

there really did kind of shake

up my ideas. Glad gad glad's

father served in veet neem and

his grand father in 'The World'

war 2. He went to the front

line with a camera instead of a

gun. He was the first video

artist to be commissioned by

the memorial for the official

war artist program. It's a

program determined to push

boundaries. You're selecting someone who is a civilian who

might be a studio artist, who

might not have had experience

of being on the ship, for

example, or you know the

deserts of the Middle East and you're plucking them from

Australia, plonking them down

there and saying, be creative.

Produce works of art. But the extraordinary thing is that

they do. How has it change and

movered with the different demands of different conflicts

an different era an different era s? I was

thinking about. That I was

thinking how has it changed

since 1917 and the appointment

of Will Dyson and the kinds of

artists apointed at that

time. Thinking about the kind

of artists that we send now, I

think there's an enormous sort

of political awareness from the

ar fists that we have been -

artists that we have been

appointing since 1999: Not only

appointing since 1999: Not only

a political awareness but a

cultral and historical

awareness of the countries that

they are going to. I was

interested in the kind of geo politics when I was thinking

about going over and the

conflict itself. But when I got

there I was really struck by

the beauty of the landscape,

and that was something that I

wasn't really figuring on being

hit by so hards. When artist

hit by so hards. When artist s

Lyndell Brown and Charles Green

were first offered the chance

to travel to Iraq and

Afghanistan as first war

artists they turned it down

without a second thought. We

were quite shock and said it's

too dangerous. Nobody of course

does travel insurance for these

place. But we thought about it

overnight and realise how we will never ever get an

opportunity like this

dwen. They spent six weeks with Australian troops, travelling

with the soldiers and

experiencing the same

dangers. You're in the present

moment all the time. And you

really can't afford to project

so far forward. And you're so

uncomfortable because you have

25 kilos of body armour! The

soldiers have changed as much

as the nature of war itself.

Tall artists reacted strongly

to the ever present peck

to the ever present peck

nothing of combat . Shaun

Gladwell has a taste for

high-tech gear which made him a

bit of a hilt with the

troops. I think it made sense

to use technology rather than

get an easel out and start oil

painting. The guys of course

who I'm kind of working with in

this video were very accustomed

to technology, it's in their

workplace and they're having to

use it day to day. Often they would

would better operating cameras

than I was, so I thought I may

as well just hand these cam

troos the guys and we can use

them together on a project. You

mentioned that contemporary war

artists are very well informed,

they often have political and

cultural awareness before they

go these into these conflict

zones. With the politicisation

of certain conflict, what kind

of burden does that put on the artist? It does create challenges for them. Certainly

they're aware of the fact that

they're not trying to create

propaganda art. What I find

quite interesting about the

work that they are creating is

that they are aware of the sort

of cultural, the history, the

landscape - a lot of that is

sort of coming into the work

and there's so many different

layers and so many different

subtleties in the work that you

might not be aware of when you

first look at it. That's the

program for this week. Thanks

for your company. Chris Kimball

will be back next week. Until

next time, goodbye.

Closed Captions by CSI


This time on Collectors, it's Redheads and lucifers by the thousand. I collect matchboxes, and I'm a phillumenist, which means a lover of light. It's out with one collection, and in with another.

There are different collections that are yet to come out of me, and I think we're just going in the new stage now. And I visit the refurbished treasures of Sydney's Town Hall. Now, originally there would have been a pair of these vases, but even this one on its own is worth $100,000. And a weaver who loves her looms. They're so old. I mean, weaving is as old as humanity itself. Hello, and welcome to Collectors. I'm Claudia, and I'm with Gordon. Good evening. And Adrian. Hey. Now, tonight we've got matchbox covers and the Sydney Town Hall. Indeed, and there's a strange connection there, because when I visited the Sydney Town Hall, I found a beautiful model, all made out of matchsticks. Oh, that's perfect. Oh, wow. How about that? Everything's just come together. We'll catch up with that a little later. But first, here's the good old mystery object. Looks like a portable apple corer. To compress something. I was going to say a stamp. Old-fashioned smoking thing? lighter things in an old car. Oh, yeah, it's one of those Hmm. Ooh. where one bit goes into another. We keep getting those ones haven't got a clue what it does. Slips inside another thing, and we

to have a closer look at that later. (LAUGHS) Well, we're going to have I think it could be a bit of a worry. Pat Giroud is a phillumenist, But first up, to do with matches. which means she loves everything for almost 50 years. In fact, she's been collecting In the early days, we swapped. at one stage, I had about 28 penfriends and they'd send us back their stuff. and we'd send them Australian stuff,

are the same as I am. A lot of the collectors for the love of it. They just like it Now there's a lot of dealers coming in,