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Live. Tonight - costing the

climate, new Treasury modelling

predicts how much householders could Australians cannot afford this could pay under a a carbon tax.

enormous hit on their everyday

budgets, which is going to budgets, which is going to cost

over $860 a year. That's in

aftertax income. But the Government says the Treasury

figures are not an indicator of

what the starting price will

be. We are going to announce

the price later on. We're

still working on the price.

We're still working on the

household assistance.

Good evening. Welcome to

'Lateline'. I'm Ali Moore.

Betty Churcher ran Australia's National Gallery for seven

years and gaped a reputation

for bringing the world's best

art to Australia, earning her the Blockbuster'. Now 80 and with

her eyesight damaged, Betty

Churcher, an accomplished

artist herself, has been busy

committing her favourite

paintings to memory by them. I want it just exactly

as the artist presented it to

the world, so it's almost a

hypnotic thing of stepping into

Manet's head, if you like,

looking through Manet's eyes

and trying to see how he made this is our guest tonight. First,

our other headlines. More senior members of the Gaddafi

regime could defect to the

west. And impossible no longer

- the website helping to make

dreams come true. A after the Government announced dreams come true. A month

plans to put a price on carbon,

Treasury has released the first

official estimates of how much

it could cost households.

Treasury documents show it

could push bills up by more

than $900

compensation impact will be softened once

compensation is paid and if

fuel taxes are cut. From

Canberra, political

correspondent Greg Jennett. Calibrating the price is one of the Government's great pieces of

unfinished business. But Tony

Abbott's never let that stand

in his way. We'll see

something like a 25% increase

in electricity prices as a

result of Julia Gillard's

carbon tax. Since February, to

every question about the

Minister's had one answer. We

are going to announce the price

later on. We're still working

on the price. We're still working on assistance. Treasury has been working on the household

leading the work, and now,

through freedom of information, its estimates of potential

impact on weekly household

budgets have been released. At

$30 a tonne, it says

electricity bills could rise by

$4 a week, gas $2, fuel bills

by $3.60 and food

a total of $16 a week, or an

extra $860 a year. The impact

would be softened by almost $5

a week to about $12 if the

Government cut excise on fuel. Australians cannot afford this

enormous hit on their everyday

budgets, which is going to cost

over $860 a year. That's in

aftertax income. The price rise

calculations are all before the

Government's compensation

payments kick in. They'll

reduce the impact for

pensioners and workers in lower half of the income scale. The Government points out the

figures should not be used as a

guide to where the carbon tax

might start out, but Treasury

has reminded its Minister the

longer the carbon price is held

down, the harder it will be to

reach its target of cutting

carbon by 5% in 2020. The

National Broadband Network is

expected to cost at least $36

billion and promises to deliver over 90% of Australian homes and

and businesses. The NBN has

sus pendsed talks with the

companies that had tendered to construct the

and this afternoon it's

confirmed the NBN is holding

talks with a single firm about

building the broadband network. Hamish Fitzsimmons reports. The

company building the NBN says pulling the plug pulling the plug on

negotiations is about achieving

the best deal for taxpayers.

What drove us here was the

fact that the

higher than we expected. We'd

spent quite some time benchmarking what we thought was fair value for money and

the prices came in above

that. It shows the cost of the project has been substantially underestimated, according to

the Opposition. It just proves they've undercooked their

numbers and that this is going

to be a lot more expensive than

even the very large investment they've proposed to date. The NBN told the 14 companies involved, including Telstra,

their prices were too high and Transfield and John Holland,

suspended the tender process.

We worked diligently at trying

to get a good result. We

formed the view that it wasn't

a good enough result, so way. This different way going to go a different

involves discussions with a

single company about building

the network, reported to be

Leighton Holdings. But neither

the company, nor the NBN, would

confirm this. The NBN will say

the new talks are about

expanding the rollout. We're

talking about a national

rollout footprint,

than a specific area, we're

talking about 10 or 15 areas at

once. The reason why we talk

about that is that it enables

out, hire the people, get the them to put their capability

equipment to the right place

and get the benefits of scale,

as against a specific location. The Federal Government remains committed to

the construction of the $36 billion plus communications super highway, but the

Opposition says the scheme is

coming apart at the seams.

It's like watching a car crash

in slow motion,

Government has got nobody to

blame but itself for this. The Communications Minister,

Senator Stephen Conroy, was unavailable for comment, but the Government still has time to

get the project back on track.

Send it off to the

Productivity Commission, do the

cost benefit analysis, and I

think you'll find the answer

will be that there is a range

of technologies that will

enable the NBN to deliver fast

broadband at a much, much lower of the network will be announced within a month. After

days of retreat, the rebel

forces in Libya are regrouping,

hoping to regain momentum against Colonel Gaddafi's army.

While the opposition forces

hang on, diplomatic efforts against Gaddafi have

intensified. More Libyan

officials are said to be

heading for Tunisia to defect,

following the lead of Foreign

Minister Mussa Kussa, and the

British Government has refused

to confirm or deny that it's

told a

London that the dictator has to

go. Middle East correspondent Anne Barker reports. With

Government troops making strong gains against the rebels in the

west of the country, hundreds

of pro-Gaddafi supporters staged a show of support for

the Libyan leader. Their chanting reverberated around

the gaefs' residential and

military compound, which was

bombed in coalition airstrikes

almost two weeks ago. You keep

talking about human rights, but

you keep bombing our Libyan citizens. We are here citizens. We are here not afraid. NATO says it's

investigating the possibility that one of the western

airstrikes on the Libyan

capital killed civilians. That report came from a Catholic

bishop of Tripoli, who claims

around 40 people in his

neighbourhood were killed in

the attack. I think every one

of those issues seriously. We

are very careful in the

prosecution of any of the

possible targets that we have.

We are very strict rules of engagement provided to us, we are operating within the

legal mandates of our United Nations mandate 1973. Despite

the show of support from the public, it appears that Gaddafi is losing support from within.

There are reports of numerous

Libyan ministers and officials

waiting to defect to the west.

If proven correct, they'll join former Foreign Minister Mussa Kussa, who's currently being

questioned in London. The

Libyan Government is playing

down his defection. down his defection. Mr Mussa

Kussa asked for sick leave because he was exhausted

physically and he had diabetes

and high blood pressure. The Government, or the authorities, gave him the permission to

leave the country. We

understand now that he resigned

from his position. But if

nothing else, it's a propaganda coup for the

happy to use. We encourage

those around Gaddafi to abandon

him and embrace the better

future for Libya, that allows political transition and real reform, that meets the aspirations of the Libyan

people. Mussa Kussa is one of

the most senior members of the

Gaddafi regime. He has been my

channel of communication to the

regime in recent weeks and I've

spoken to him several times on

the telephone, most recently last fry daez. His resignation

shows that Gaddafi's regime, which has already seen

significant defections to the

opposition, is fragmented, under pressure under pressure and crumbling

from within. Gaddafi must be

asking himself who will be the next to abandon him. The mass

defections can only encourage

the rebel forces on the ground,

who are increasingly struggling

against Gaddafi's forces.

Every day they lose more ground

to the Libyan army, which has vastly

military might. The rebels are still putting up a fight,

firing rocket-propelled

grenades and rockets from battle trucks. battle trucks. But this

untrained volunteer army is

still making basic mistakes.

Brega is now a no-man's land

and there are reports Gaddafi's

troops have laid land mines

near the front-line city of

Ajdabiya to hem the rebels in.

The opposition is still getting

help from the air. The coalition Air Force claims to of Colonel Gaddafi's army, but

they've been hampered by bad

weather, and so far it's not enough to change the balance on

the ground. In hearings on

Capitol Hill, US defence Capitol Hill, US defence chiefs

have come under sustained fire

for withdrawing America's

strike power from Libya too

soon. Defense Secretary Robert

Gates refused to respond to

reports that CIA agents are on

the ground in Libya, but he signalled that the Obama Administration wants other countries to step

the rebel forces. North America correspondent Craig

McMurtrie reports. The timing couldn't be worse. couldn't be worse. Just as

NATO takes over, just as the US begins withdrawing strike

capability, like the deadly

AC130 gunship. We will in

coming days significantly ramp

down our commitment of other military capabilities and

resources in this operation. Bad weather has reduced coalition airstrikes

and the outnumbered rebels are

on the run again. And despite the grind of Iraq and Afghanistan, there's concern in

Congress that the US drawdown

in Libya is dangerously

premature. I believe this would be a profound mistake

with potentially disastrous

consequences. The idea that

the AC130s and A10s and American air power is grounded

unless the place goes to hell

is just so unnerving I can't

express it adequately. The

only thing I would ask is please reconsider that. The Obama Administration says Moammar Gaddafi's air defences have been all but destroyed,

along with up to a quarter of

his overall ground force. But

the Pentagon acknowledges that

doesn't mean the Libyan leader

is at breaking point. He still

has 10 times the fire power of

the opposition. Your timing is

exquisite, at a time when the

Gaddafi forces have literally

tragically routed the anti-Gaddafi forces, when we announce that the

United States is abdicating its

leadership role and removing

some of the most valuable

assets that could be used to great effect. This has been the strategy and the plan all

along and the allies knew

it. The New York Times is

reporting that Barack Obama

signed an order authorising the

CIA to provide support and arms

to the rebels weeks ago.

Unnamed officials say those

weapons haven't shipped yet. I

will not and cannot intelligence matters. Boots on

the ground only stand for

military. The President has

made clear that he will not

send, has not sent and will not

send, American troops on the ground ground into Libya. It's estimated that only 1,000 of

the rebels have any military

background. While the Defense

Secretary says the opposition

fighters urgently need command

and control training, Robert Gates doesn't should provide it. That's not

a unique capability for the United States and, as far as

I'm concerned, somebody else

should do that. One after another, Republicans and some

Democrats lined up to complain

about a muddled strategy and

the President's failure to

consult Congress. We have been

left out in the cold on this.

We don't understand what he's

doing still, and I don't think he has the support of this

Congress. This is just the most muddled definition of most muddled definition of an operation, probably in US military history. Facing

growing unease at home and

uncertainty over the capacity

of the outgunned rebels, it's

increasingly clear that the Obama Administration is pinning

its hopes on the Gaddafi regime cracking from within.

Thousands of Japanese and

American troops have begun a

massive air and sea search

along the Japanese coast looking

looking for bodies left behind

after the tsunami. At 11,500 people were killed in

Japan's biggest postwar

disaster, but the search will

not cover the 30km radius

around the stricken nuclear

power plant in Fukushima.

Dangerous levels of radiation

are still leaking from reactors

damaged by the tsunami. One

nuclear expert has warned it

might be 100 years before

melting fuel rods can be safely

removed. The Wall Street

Journal is reporting that the

reactor's operators were

woefully unprepared for the

claims the facility had only

one satellite phone and a

single stretcher in case of an

accident. We're joined tonight

by one of Australia's

best-loved art critic, Betty

Churcher. As an academic,

writer and accomplished artist

herself, Betty Churcher has

been devoted to art since she

first made a visit to the

Queensland art gallery as a

child over 70 years ago. From 1990 to 1997 she was the

director of the National

Gallery of Australia, and she's

also an acclaimed TV presenter.

Her Latest book nots books, a personal tour of her most beloved artworks, was written

under the shadow of her failing

eyesight. I spoke to her earlier this evening. Many

thanks for joining 'Lateline'

tonight. Pleasure, Ali.

You're rather better known for

your understanding of art,

rather than your skills as an

artist, and yet you learnt that

you had the ability very early on. Well, as a

small child I thought everybody

could draw. I was one of those

strange things, like some kids are born with perfect musical pitch, I thought everybody

could draw. If you could see,

you could draw. And it was

just a talent I had. When did

you first realise, though, that

you had that talent and the

person next to you didn't? Because I know that you write

in the book that your friends

could outjump you, outrun you

and outspell you, but they

couldn't outdraw you. Well, it

was at school, a child would

say I can't draw, I would think

the poor thing, she must be

blind. I'd be looking for signs of blindness, but there

were none. I didn't know what

was what. Even though you could

draw, it was something

altogether different when you

came face to face with your

first painting, you talk about

it as a magical experience. It

was extraordinary experience.

I think that first experience

of mine, at what National Gallery of Queensland,

now the Queensland art gallery,

I think that was one of the

things that encouraged me when I became director of the National Gallery here National Gallery here in

Canberra to mount those block

busters, because I just thought

there needs to be just one

child in that group, as I was,

because it was an absolute

revelation to me. It's the

only thing that could

absolutely transport me to

another place, another time and another

wanted to keep on looking at the wonderful paintings. It was

a particular painting, wasn't

it? It was a painting, yes, by a Cornish artist called

blanford Fletcher, which I

don't much like now, but when I

was 7 years old, it was

magic. I wonder what it was that at 7 you that at 7 you could see

something that I guess so many

children can't. Many a child

goes to the gallery, glances at

a painting and walks on to the

next distraction. Yes, I don't

found, it was just like

stepping on a magic carpet,

because it took me back into

the 19th century, it took me

back to a little Cornish

village and involved me in

this. On the ground were these

autumn leaves, and I remember

looking at them and thinking

goodness, I feel I could just

pick one up and it will just

crunch and crumble in my hand.

It was the realism of it, I

think, that got me.

think things are different now?

We're talking about the 1930s,

whereas today there are so many

visual distractions. Television would Television would be the most

dominant one. Yes, there wasn't

wasn't even radio when I was a

little child, no, it was

amazing. I can't imagine what

it would be like now. But I

don't think it would affect a

child in the same way that it

affected me.

ever since, it's not just a

seven-year-old, ever since

paintings have had that ability to transport me to another

place. Well, you went to London

in the 1950s, you were

graduate of the royal college

of art and, indeed, not just

any graduate, you've got a

first class pass and you won

the drawing prize, and it was

there that you were told you

try too hard. You say you didn't understand that at the

time, but you do now. Well,

no, I didn't. I say in the book a brick. I just thought oh,

what on earth does he mean? I

know what he means now. He

meant I was blocking my intuitive responses to the

world and trying too hard. I

think I still probably think I still probably do. Do

you think he was right? Was he

right? I think he was right,

yes. But he should have known

that I wouldn't quite

understand what he was talking

about. In fact you

think that you never made it as

a serious artist. Yes, well,

being a brilliant student, it

gets you to the bottom of the

mountain very quickly, but you

have to scale the mountain on

your own. And that is what I

couldn't do. It was just it needs an interleak actual

rigour and a determination and

a vision, I suppose, to do that

and I just felt I didn't have

it, I couldn't do it. And I

think possibly, if I'd been a little bit more relaxed, you know, as he was suggesting, I

might have done better. It's so

surprising, all those things

that you mention, intellectual

riegor and vision are all

things that most people would

put down as attributes of you.

Yes, but being a

artist, not just as an outlet,

you know, just like a hobby, but

but to be a serious, make a serious contribution, it

more, it really does. It's a

great intellectual mountain

you've got to climb. Is it a

regret? No, no, not at all.

It never has been. Four lovely

children and ief answer joyed

everything I've done since. In fact, again, you write in the

book that it was a very conscious

family and to stop painting. Did you never think you could

do both? I tried, but it

simply didn't work. One of the main things - it wasn't so much

that I didn't have the time to

paint, but that emotional

energy that I'd been putting

into painting I found I now was

putting into the children and

it just wasn't there. Well,

when you did return to work as

a lecturer, you talk being afflicted by the who

# Sme syndrome. What's that?

I think a lot of - I don't

know whether it's just a female

disease or not, but I suppose

it's born of a self distrust

and the feeling that what

you've done up to this point is

a matter of luck and good luck.

Every time I'm offered

something that is a challenge,

you know, it's a big

I've never done it before, I

immediately think what, no, no,

no, not me. When they rang me

up about this job at Canberra

here, my first response was,

"No, no, no, that's not a job

for me" and I started suggesting

suggesting the people they

should be trying. Of course that

that didn't work. But that didn't work. But that

syndrome, do you see that

today, particularly in women?

I hope not. I think they're getting better. I think

education is getting better.

remember there were no women

role models, there were no

women in art schools, teaching

in art schools, there were no women to be

just thought I was very unlucky

I'd been born into the wrong

sex. Well, you were the first female director of the National

Gallery, but before that you

were the first female director of a state gallery in WA.

That's right. Of course,

Robert Holmes acourt was your

chairman, that sounds like an

extraordinary time. That was an experience, an experience, not one that I regret, but it was hurtful and

painful at the time. Tell us

about working with him. You

say that he used silence as a form of torture. Yes, well, he

was one of those people - other

people do it too, I know. You

would say something and he

would just not respond. And

you tend to sort of fill a

vacuum, you know, to keep

talking. What did you learn

from working with him? Well, I learnt the value of timing, you

know. I think he was a great -

I think he was almost a genius

in what he was doing. But he

had no sense of how other

people were feeling or anything

like that. You worked with

other very large personalities

when you arrived at the National Gallery, of course

your chairman was Gough Whitlam

and you had to veto a plan to

have Gough Whitlam walk on

water. It wasn't

Whitlam's plan, let me assure

you. It was only about two

weeks after I'd got there and

my eye balls were swivelling in their sockets and I was trying

to find out what was what. I'd

noticed they were building this

walkway just under the water of

the lake by the mir brook cafe

and when it got time for the

media launch, I said to the PR

going to happen", she said

you're going to all dress up in

Roman toeingas, you're going to

walk down, process down, led by

the the chairman, Gough Whitlam,

and then at a certain point

Gough is going to Peel off and

walk across the water to the

waiting Ross trum. I thought I

don't know about that. Because I thought of the distance

through the water to the

pavement, I thought he'll not

make that step, because there's

nothing to hold on

thought he'll probably have a

wet hem to his toeinga. So I

had to put a veto on that and that of that of course didn't make me

very popular. I said I'm

sorry, he is not going to walk

on water. Because I thought it

was making a circus act out of

a man that I greatly

respected. However, he did

dress up in a toga. He didn't

want to. He really didn't want

to. When he arrived, they

hadn't bothered to because when he arrived, I said

come on Gough, we've got to go

up, choose our togas, he said

what, I said we're dressing up

in togas, he said comrade, you

may make a fool of yourself if

you wish, but I will not." I

said Gough, come on, you were

going to have to walk on water.

Quick as a flash, he had

marvellous wit, he thought of

the things

of the next day, he said

immediately comrade, that would have been out of the question,

the stig matta had not yet

heeled. When did you first

realise you you had a problem

with your eyesight? Oh, it was

in about 2003, I was in about 2003, I was preparing

a program for the A about. C. I was doing these little art

program s and I'd been photocopying and I hadn't been

putting the protective cover

down because they were very

good books and I didn't want to

break the spine of the book. I started getting

flick in the corner of my eye,

of this eye. Then when I got up at

up at night, there'd be like

lightning flashes. I thought

oh, I've done something, the

photocopying, I've damaged the

ret na, or something, but it

was more than that, it was a

melanoma that was growing apace right near the optic nerve too.

So we had to move at great speed. So you've lost the sight

of one eye and the other? This

one is dead. This one has what

they call wet macular

degeneration and I'm having

treatment for that, which is

like a meddy eval torture, they

have to stick the needle right

into the eye ball and inject this fluid. When you discovered

this problem, and as you've

been dealing with it, for

someone who's devoted their entire entire life to the visual

medium, I know you've said you'd rather die than be blind.

Do you still feel like that? I

think so. I don't know. I've

just had a cataract removed

from this eye and of course

you're quite blind, because

this eye doesn't see and it had

a patch on it. It's disor entering feeling, you

can't read. It's not just that

I can't see paintings, but I

enjoy looking at the landscape,

we've got a lovely place on the

Yass River, I enjoy watching

the seasons come and go. I

much enjoy reading. I don't

know what I'd do. I can't

answer that, Ali. I offended a

friend of mine who is blind,

she said how dare you say that?

I said it's all right, you've

been blind all your life, you

have a whole support system around you to help don't have, of course. So you

went to London to draw your favourite pictures. What is it

about the act of drawing that commits paintings to memory for

you? I have no idea. There's

a funny thing, you know, I

can't draw from a reproduction

in a book, even a good

reproduction, I can't draw.

I've got to be standing in

front of the picture and it's

your visual excitement that

gets you drawing. My eye is on

the painting more than the

drawing and I'm just following that, you know. When that, you know. When you draw,

you notice something, things

that you won't notice, if

you're just looking at a

picture you take in subject

matter and take in its colour relations and take in a few

things, but you don't notice details and you don't remember

details. And of all those

drawings in this new book of pictures for you, you know,

they're so imprinted on my

memory. Are you just copying or

are you interpreting in one

way? No, I'm just way? No, I'm just copying. I

want to just exactly as the

artist presented it to the

world. So it's sort of almost

a hypnotic thing of stepping

into Manet's head, if you like,

looking through Manet's eyes

and trying to see how he made

this painting. this painting. So it's not interpretive, there's no

creative thing about it at

all. Do they lose their magic

when you do that, when you

analyse a painting so closely?

No, no, they gain, they gain

incredibly. Like the little

very near I looked at again and

again in Kenwood House in

London, but it was only after

I've drawn it that its real

magic is really now imprinted

in my memory bank. You know,

it will be there forever. I

guess so many people have seen

art through your eyes, but wonder how many actually see

what you see when they look at

a painting. Well, it's

interesting, snts it, I wonder

that, I wonder how people see

colour, you know, do we see

colour differently? One never

knows that. I really don't

know. But I think one of the

fun things about the book is

that people can look at the

reproduction, painting is there

that inspired the drawing, the

drawing is there, and they can

look and they may see where

what I've missed, where I've

accent uated something I

shouldn't have accent uated.

It's a little like the magazine

spot the 10 differences, you have two things there, the

original and the drawing. Is

that because art really is in the eye of the beholder? It is in the eye of the beholder, there's no doubt about that,

doushon was absolutely right when art is the reaction between

that thing that's on the wall

and the person that's looking

at it, you know, it's the electricity that electricity that takes place

between them. And that's what

makes a drawing, you see.

That's why I can't draw from a

reproduction, I've got to be so

visually caught up, really

excited by what I'm looking at,

that I really need to draw it,

I really want to draw it as

that artist drew it. Well, Betty Churcher, many thanks for

coming and talking to 'Lateline' tonight. Thank you.

Have you ever had a dream to

travel the world at someone

else's expense? Well, now you

can by using crowd funding. Crowd funding is an innovation

of the internet age which links

generous donors to needy

projects. For example, an

environmental group called green way up alternative energy by setting

out on a worldwide expedition

using only biofuel. Through an Australian website called Pozible, they raised $20,000

and if everything goes

according to plan they'll soon

be on their way. Michael Atkin

has the story. Bob Miles and Chuck Anderson are getting

ready for an environmental mission. Okay, so we've just

arrived here at Lithgow chicken

shop. We'll try to get waste

oil from them. We're going to

have to do this all the way to Norway, beg our way to Norway

just to make fuel. Their plan

is to travel halfway around the world

world without filling up at a

petrol station. But to stay

away from the bowser, they're

going to need some help. G'day

there. Good morning, how are

you? Good, and yourself Very

well, thank you. We've got a quick question. Yes. We're on

our way to Norway and we're not

going to fill up at a petrol

station, so we need waste oil

to make biodiesel the

way. We were just hoping you

might have waste oil out the

back we could take. That would

clean up nicely. We could make

1,000 Ks Get us to Brisbane.

Yeah, let's go to Brisbane.

One small chicken shop. Thank

you very much for this. That's fantastic. The team will travel

over land and sea using biodiesel converted from

recycled animal fats and

vegetable oil. What could

possibly go wrong? Here in Australia I don't think we'll have a problem, but that will

all change once we go over into

Indonesia and Malaysia. I

can't even predict where we're

going to get oil from. It's

not going to be a fish and chip

shop, a pub bistro, road-side

seller, I don't know. On this farm

Mountains of NSW Chuck is busy

constructing the vessel they'll

take from Darwin to Indonesia,

powered by an old truck engine

running on biodiesel. It's

been a dream come true, to tell

you the truth. Any bloke in

their 20s, get to stay at a

farm, wake up in the morning

and build a boat. And an

impossible dream, without the

help of an Australian website

that allows people with a

creative idea to raise money online. Charity and business

projects are excluded. We see

this thing as a brand-new idea

for the creative community to

be able to fund the project.

We don't really want it to fall

into the traditional way of

people thinking about raising money,

money, it's for the charitable

purposes and we want to be able

to give the creative to give the creative industry sort of a new option. Donors

are offered rewards and the

with website takes a percentage

of the donations. of the donations. Co-founder of Pozible Rick Chen created

the site because he was sick of hearing about exciting projects

which failed to go ahead

because they lacked money. The

green way up team may have been

able to raise $20,000 using the

crowd funding website. Without

that money, their trip might

never have happened. But Bob

had doubts about whether crowd

funding was a solution to their

financial woes. I was so sceptical.

little project go up on Pozible

there, I thought there's not a

chance in hell. It blew me away to see the numbers climb

over 30 days. Colin murjes is

one of the people who chipped

in. The environmentalists made

a small donation. It's great

that they're out there showing

the people it can be done and

you can follow them right

through on Twitter or Facebook.

It's just great to be involved in the energy revolution and

these guys are showing the way

and we're all going to be part of it. It's fantastic. Green

way up is the exception, rather

than the rule. Projects only receive

receive the money if they reach

their funding target within 90

days and currently two-thirds

fail. We're actually here to

collect some waste oil. But

there are other concerns about could be violating the

Corporations Act by raising money and offering rewards

without issuing a prospectus.

It's clearly within the Bali

wick of the ACCC and ASIC, this

whole area, because it

infringes both the consumer protection laws, potentially,

and the prospectus and security

laws. ASIC told 'Lateline' it's considering whether crowd

funding poses concerns. There are also few

safeguards to stop donors being

ripped off. Once a project is

fully funded, there are no

checks provided to make sure it's completed. The whole

model is based on trust very

much. I mean, from the moment that somebody supports a project to the moment

delivering this whole model,

highly under trust, so I guess

it is a potential risk for both

parties at some stage. But,

again, we haven't had any problems so far. problems so far. Back at the

farm, Chuck is already looking

to break a promise, made to one

donor. Someone actually

donated $1,000 and they get the naming rights for that, but I

haven't spoken with them yet,

because I've got a bit attached

to it and I've dubbed it

elmahico, Spanish to take nothing and turn it into something. Michael Atkin, 'Lateline'. Now to the weather.

A shower or two for Melbourne

and Hobart, a few showers with

local thunder in Brisbane, windy

Sydney. Showers and storms in

Darwin, fine and mainly sunny

in Adelaide, Perth in Adelaide, Perth and Canberra. That's all from us.

If you'd like If you'd like to look back at tonight's interview with Betty

Churcher or review any of 'Lateline''s stories or transcripts, you can visit our

website. You can also follow

us on Twitter and Facebook.

See you again on Monday. Enjoy your weekend. Good night. Closed Captions by CSI

THEME MUSIC (PLAYS BAD REPETITIVE RIFF)

Hello, Wembley! (RESUMES PLAYING) Are you ready? Are you really, really, really, really, really, really ready? PLAYING STOPS ABRUPTLY It's not Wembley, it's Kilburn! Hello, Kilburn. And David and I are trying to work.

Well, no, Milly. I am doing your coursework. You are watching Hollyoaks. Remember what I said, Dave. If you do my coursework, I'll let you wash my underwear again. (RASPILY) OK. VERNON: You've got email, you fu...! STOPS ABRUPTLY Sorry. Vernon, have you been using my laptop again? This is a student flat, Dave. I'm sure it's the people's laptop, hm? # The people's laptop the people's laptop. # That explains why when I open email someone screams,

"You've got email, you fu...!" I can't say the last bit in front of Milly because she is so fragrant. But it's a bit like flipping winker.

Sleep-a-thon. Almost beat my own record - 17 hours. Intense.

Student life's wasted on you lot. Sleeping, watching the telly, working... I moved in here to have some fun. And because Mum threw you out. There's only one problem with Olympic-level sleeping. You get so hungry.

But this time I cleverly prepared everything in advance. I laid it all out in a line. A tin of soup... Hey, where's my tin of soup? # That was breakfast. #

Where's my pot noodle? # That was lunch. # Oh, my chocolate HobNobs! # I got a bit peckish during Countdown, Countdown. # Oh, well. At least I've got my emergency Toblerone under my bed. Uh... Oh, Dad! # Oh, Dad, oh, Dad # Oh-oh, oh-oh, oh-oh, Dad. # This is getting too much. You said you'd only be here for three days, and you've been here for three months now. What's the plan? Are you getting a job, Vernon?

Yeah, finding somewhere else to live?

Cos, quite frankly, we think it's time you left. Why? Because you're annoying the pants off of us! How? Well, there was the time you cut my hair while I was sleeping. The time you tried to impress my friends with a packet of condoms. The time you moved all my bedroom furniture in the middle of the night. CAR HORN HONKS (CHUCKLES) And will we ever forget the Virtual Glastonbury scheme? Call yourself students? God, you're so bourgeois. Free your minds, square people. You're not free. You're living in a box! This is not a box. I know that because I had been living in a box for the last 25 years - a four-bedroom semidetached box in leafy Godalming. This is freedom. I'm free to make a noise, to make a mess, to work on my lager mountain. Look at you, you do nothing in this house. # House... # You expect to be waited on hand and foot like Paris Hilton. # Paris Hilton. # You leave all your towels all over the floor all the time. # All the towels on the floor All the time on the floor. # All you do is dick about all day on your stupid, bloody guitar! This is not a stupid, bloody guitar.

When your mum threw me out, this guitar was there for me. It doesn't nag, doesn't preach. (PLAYS A CHORD) It doesn't judge. It's the one thing in my life that's truly constant and I love it. (SNIFFS) Ahem. I don't care. Just stop bloody playing it all the time, because it's driving me insane! # It's driving me insane Driving me insane. # You've broken my guitar. # You've broken my guitar Broken my gui-tar-ha ha-ha-ha. # How am I gonna write a hit single now? That was never gonna happen. You're a failure at songwriting just like you're a failure at everything else. You've failed as a musician, you've failed as a husband and you've failed as a dad. (GASPS) Max, will you say something to her, please? Yeah. Well said, Mill. Though you could also have said, "You're a Toblerone thief!" David, will you talk to them? I like you, Vernon, and I treat you with respect because you are a very elderly gentleman. But sometimes you are a bit of a flipping winker! You all really want me to go, don't you? ALL: Yes! CANS CLATTER LAUGHTER (PANTS) All you need is a dog on a string, mate. I would have brought it all over in the car, but... (PANTS) ..those kids from the estate have nicked my wheels again.

Ah. Mm. (SIGHS HAPPILY) Why don't you just take a few jackets off? Well, I can sort myself out once I get round to yours, can't I?