The Queensland town for sale for less than the price of the average home in Sydney remains on the market for offers over $750,000.Reports over the weekend suggested the town was under contract, but Julie Sutton, Principal with Sutton Nationwide Realty Gin Gin, tells realestate.com.au that the contract did not go ahead and the property is now back on the market.The tiny town of Allies Creek in Monogorilby, located over 200km north-west of Brisbane includes 16 homes, a water treatment plant, a mill and a dam with a pontoon and it is still for sale.“It’s such a bargain, that’s the thing,” Sutton says.The current owner had reduced the price to $750,000 — some $30,000 less than you would pay for a house in Sydney – but Sutton insists offers now need to be above that price.According to CoreLogic RP Data, the median sale price for a home in Sydney in April was $780,000.This is one of 16 houses included in the sale of the town.Allies Creek in Monogorilby has been owned and operated for years by an unnamed married couple, with the passing of one partner resulting in the other looking to move on.The remaining owner is “a bit overwhelmed” at all the media attention the town has generated in the past week, Sutton says.But Allies Creek is an “extremely profitable” business.“It has commercial rent as well we residential…the possibilities are endless. It could hold fantastic music festivals, it could be for groups that have large camp outs, it could be for a Scout club or group to own, it could possibly be set up as a caravan site. It’s just endless what you could do with this place,” she says.Italian dream: A look at the Tuscan village for sale for €40mA look at some of the machinery included in the sale.Some of the town’s 16 houses – made up of two, three and four bedroom properties – are currently tenanted.That small population is likely to soon grow.“There would be a minimum of six, seven houses rented out at this stage. But with new fruit pickers coming into the area that have just been moved there, over 300 of them, that could be changing, obviously,” she says.Video: Town for saleVideo Player is loading.Play VideoPlayNext playlist itemMuteCurrent Time 0:00/Duration 2:32Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -2:32 Playback Rate1xChaptersChaptersDescriptionsdescriptions off, selectedCaptionscaptions settings, opens captions settings dialogcaptions off, selectedQuality Levels360p360p240p240pAutoA, selectedAudio Trackdefault, selectedFullscreenThis is a modal window.Beginning of dialog window. Escape will cancel and close the window.TextColorWhiteBlackRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentBackgroundColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentTransparentWindowColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyTransparentSemi-TransparentOpaqueFont Size50%75%100%125%150%175%200%300%400%Text Edge StyleNoneRaisedDepressedUniformDropshadowFont FamilyProportional Sans-SerifMonospace Sans-SerifProportional SerifMonospace SerifCasualScriptSmall CapsReset restore all settings to the default valuesDoneClose Modal DialogEnd of dialog window.This is a modal window. This modal can be closed by pressing the Escape key or activating the close button.Close Modal DialogThis is a modal window. This modal can be closed by pressing the Escape key or activating the close button.PlayMuteCurrent Time 0:00/Duration 0:00Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -0:00 Playback Rate1xFullscreenQueensland town for bargain price02:33In addition to those homes, the school, church hall, water treatment plant and power station, there is also an old mill and a collection of machinery included in the sale.“It was (home to) a decommissioned saw mill. That could be up and running again because it’s certainly got the equipment and sheds there for it.More from newsMould, age, not enough to stop 17 bidders fighting for this home3 hours agoBuyers ‘crazy’ not to take govt freebies, says 28-yr-old investor9 hours ago“The machinery is just unbelievable. It’s unbelievable what’s going with this property,” Sutton says.There is a large dam with a pontoon, walk out bridge and private canopy.The 16ha town sits on five titles and includes street lights, running water, Telstra connections to each home, a caravan park and groomed parkland.Wedding business: This Tasmanian village could be all yours An old church hall and school are also included in the sale.While the town has been on the market since last September, the price drop in March has attracted interested parties from around the world.“It’s crazy, it’s just been absolutely crazy.“I’ve had (calls) from every state in Australia. I’ve had these viral reporters (call) who are very, very interested from Hong Kong, Ireland, Scotland, New York,” she says.
17 January 2011South African driver Giniel de Villiers finished second in the 2011 Dakar Rally Argentina Chile on the weekend, sandwiched between his Volkswagen team-mates Nasser Al-Attiyah and Carlos Sainz.It was a third Dakar victory in succession for Volkswagen and the most dominant performance yet by the team’s diesel-engined Race Touareg. In total, Volkswagen won 12 of the 13 stages.Al-Attityah, thanks to some strong performances in the latter stages of the race and some bad luck on the part of defending champion Sainz, took a comfortable victory, finishing 49 minutes and 41 seconds ahead of De Villiers. Sainz was one hour 20 minutes and 38 seconds off the pace.Stages winsThere was some comfort for Sainz, who lost over an hour on the third last stage when he hit a hole and damaged his front suspension. He won seven stages, including the first two and the last two.Al-Attiyah, second in 2010, won four stages and De Villiers, the winner of the 2009 Dakar, won one to take his all-time number of Dakar stage victories to 13.Fourth overall and one hour, 33 minutes and 48 seconds off the pace was after a testing 9 000 kilometres through Argentina and Chile and 5 000 kilometres of special stage rallying was France’s Stephane Peterhansel in a BMW X3, which made it four Dakar winners in the top four finishers.The three-times Dakar winner (he last won in a Mitsubishi in 2007) took stage five.Sixth placeAmerican Mark Miller and his South African co-driver Ralph Pitchford finished sixth overall in the fourth factory Race Touareg, 41 minutes and 20 seconds behind the BMW X3 of Polish rally champion Krzysztof Holowczyc.They lost almost an hour when their car rolled on stage two and thereafter performed the role of backup to their team-mates, including stopping to repair Sainz’s front suspension on stage 11.“As you would expect from the Dakar, this has been a really tough rally, long and tiring,” said De Villiers.“My co-driver Dirk von Zitzewitz and I are very happy to have finished second after our disappointing result last year when we were seventh after losing over two hours with electrical problems on the third stage.Strategy“Our strategy throughout the 13 days of racing was to push as hard as we could without taking any unnecessary risks.“The Dakar demands great respect and we are proud to have made it on to the podium for the third time in five years.“This is a great result for Volkswagen, who once again have proved they are the best team. Congratulations to Nasser on a brilliant race.”DisappointedPitchford, who was second with Miller behind De Villiers in 2009 and third last year, was disappointed to not make it into the top three for a third year in a row.“The Dakar is not regarded as the world’s toughest off road race for nothing,” said the former South African off road co-driver champion.“To finish is an achievement. We’re very proud to have been part of the best team in the race, for the third year in succession, and although we lost any chance of a good result after our roll on stage two we enjoyed our Dakar and were pleased to be able to help Carlos when he crashed his car.”SAinfo reporterWould you like to use this article in your publication or on your website? See: Using SAinfo material
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PremiumBeat spoke with Brazilian filmmaker Carolina Costa about her path to success, her approach to the work, and her creative direction.Being named one of American Cinematographer’s rising stars of 2018 is just one of the many accomplishments Brazilian DP Carolina Costa has achieved this past year. Costa most recently shot director Minhal Baig and executive producer Jada Pinkett Smith’s coming-of-age story Hala, which premiered at Sundance before being picked up by Apple.PremiumBeat spoke to Costa about her path to success, her approach to the work, and her creative direction.Geraldine Viswanathan in Hala.PremiumBeat: There are so many people that desire to make the leap from operator, assistant, or grip to DP. It’s obviously not a straight line, but how did you manage to make the transition? Skill? Relationships? Determination?Carolina Costa: It is definitely not a straight line. When I first started, everybody said it would be impossible to be a DP before going through all the ranks in the camera department. I started as a trainee and then moved to clapper/loader. Worked in the camera department for many years and always kept trying to shoot little things on the side. I was very lucky to work for DPs that were generous, and they kept the job interesting, because camera assisting can get tedious and you don’t necessarily learn the skills to be a cinematographer.The DPs I worked for would give me homework sometimes — like how would I light this scene if I were the DoP. The next day, I would discuss it with them, and they always allowed me to talk to the gaffers, ask them technical questions. I was also lucky to know a very talented group of gaffers and electricians at the beginning of my career — and I learned how to light from them.When I decided to stop assisting and wanted to be the head of the department, I was out of work for months. Nobody called me. Then the AC jobs stopped coming my way, and I thought about giving up many times but stuck with my determination to make the transition. I kept going. I would apply for anything I saw on the internet. I reached out to all my friends with bands or actors. I just kept shooting. Then people started giving me a break, and I started my career, mostly on shorts, documentaries, and a lot of corporate videos. Eventually, I realized nobody was going to give me a big break to shoot a feature, and that’s where my eyes were always set — shooting narrative.That is when I realized I needed to improve my tools, so I applied for AFI. It was only when I left AFI that I saw myself as a director of photography. I was ready. I shot a short with fellows from AFI, and that short traveled, and it landed me my first feature. I’m glad that Las Elegidas/ The Chosen Ones was my first feature. I really waited for something special, and it paid off.PB: You are incredibly versatile, having shot documentaries, shorts, TV, and features. How is the role of the cinematographer different based on the medium?CC: I try to see it as the same. Each job will have their own specificities, independent of the medium, and I treat each one with the same respect and set of rules. Then, I have to adapt myself to that director and that project.DP-Carolina-Costa-Director-Minhal-Baig-and-Geraldine-ViswanathanPB: What is your preferred process when working with a new director? What are your initial discussions? What do you feel are the best working conditions and results?CC: I always like to start from a big psychological breakdown of the script, pointing out what each scene is about from an emotional standpoint. I like to understand who the characters are and why they made these choices. So, I guess it always starts from the text and the script.After that, I like to dive into the mind of the director — what are their references, what movies they like, where do they come from. From then on, the collaboration starts. I like the directors I work with to know that I will always be there, every step of the way. Most directors I work with are generous and great collaborators, so I feel part of the whole creative process, but independently I have to adapt myself to their methods.I like to think that I am their support through their process. Some folks are more communicative and verbal about their thoughts and processes, and others aren’t. It’s really up to me to figure that out and mold myself to it.Hala actors Sam Straley, Taylor Blim; cinematographer Carolina Costa and actor Azad Khan.PB: Minhal Baig recently took Hala to Sundance, which you shot. This was a project that evolved from a short film. Often, artists don’t want to be influenced by source material. Did you watch the short and did it impact the work at all?CC: I watched the short when it first came out, which was a couple of years before we shot the feature. Since I wasn’t the DP on the short, and I truly respected the work from another fellow cinematographer, I didn’t want to be influenced by his work. I felt it would be like cheating or copying someone’s approach. So no, it didn’t really impact my work on the feature version.AFI Panel at Sundance Canon Creative Studio. (Image by Michael Ori.)PB: It’s getting better, but women are woefully underrepresented in our industry. Does gender play a role in the way you work, are respected, or heard? Having worked with male and female directors, how are the dynamics different? Or have your interactions been with perhaps a predominately male crew?CC: It’s definitely getting better. I can see big changes in the 15 years I have in our industry, but we still have a ways to go. It’s funny to answer this question today because just two weeks ago, I was mentoring a young woman and was mentioning that my gender was a much bigger issue at the beginning of my career than it is now. Cut to two days later, on the film I am shooting right now, and some technical crew that came with a crane were mansplaining to me how a crane worked — I was baffled. And this was to make an excuse why they couldn’t execute with precision the shot I had requested.A few days after, I was interviewing MOVI operators for the same job, and I can’t get off my mind the face of disgust that this one guy had once he realized I was going to be his boss. That being said, both my producer and my director, who are males, were also shocked by the situation.I don’t feel that my gender plays a role on my working methods, to be honest. I don’t think of myself as a female cinematographer when I’m lighting, I just see myself as a cinematographer, full stop. And I hope that the industry really changes and that this distinction gets forgotten, that it feels like the right person for the right job instead.When I first started I was always the only woman in the camera department, and people would treat me differently, but as I progressed in my career, and made a name for myself, that felt like something in the past for a while. And there has been a great change, obviously, but when I’m faced with these circumstances, I remember that we have taken just baby steps.DP Carolina Costa on an AFI Panel at the Sundance Canon Creative Studio. (Photo by Canon.)PB: If budget were not a concern, what would be your ideal camera, lens, and gear to have at your disposal? Likewise, while working within a tight budget, where would you spend the money to get the look you want, or does either scenario really depend on the script and director’s vision?CC: That is a hard one to answer. I feel the tools chosen for a project come from what the project is about and how we will approach the visual language for it. Obviously, the budget will dictate what can be done or not.Carolina Costa (Image via IMDB).PB: What is your relationship to operating and lighting? What determines your approach?CC: The visual language created for each film is unique to each project. Though I operate from instinct and my own experience, I like to feel I’m starting fresh for each project, not taking vices from the previous one. I mostly don’t operate the camera — preferably, I would have an operator. I like to have that collaborator on set, and it gives me much more freedom and time for lighting. That being said, sometimes I might operate, and it can be for many reasons — once it was because I didn’t speak the language of that country; another time was because it was an intimate story and a tiny space, etc.The same way that I involve my operators on the language we are creating for a film, I do with my gaffers. I like people to have opinions, ideas, and be invested, at all times. The collaboration with my gaffers is always special to me — I love it!In terms of the style of a film, I feel that both the camera and the lighting have to be honest to that story, and, in general, I don’t like them to go on the same tracks. If the camera will take a more stylized approach, per se, then I feel the lighting should fall into a more naturalistic approach.Image via IMDB.PB: Finally, is there anything you are dying to test out on set? Any new, cutting-edge technology? Or maybe some trick with all natural lighting?CC: I don’t think I have any toys in particular I want to try, but, instead, I would love to experiment with genres. Right now, I’m shooting my first horror film. Later this year, I will shoot a period piece, and now I’m looking for sci-fi scripts for next year. I don’t want to be boxed, I want to be able to shoot any genre of film.Looking for more industry interviews? Check these out.Working with Comedy and Drama in Sundance’s “Before You Know It”The Costume Design Behind Star Trek, House of Cards, and Greek WeddingThe Story Behind Editing a Movie About Dungeons and DragonsInterview: Christina Kallas on Writing and Directing Multi-Protagonist ScreenplaysIn Sundance Movie Paddleton, Limited Space and Time Yield A Genuine Bromance
“You don’t really mean call 1,000 prospects, do you?”Yes. I do mean call 1,000 prospects. Unless you have a list that you have built that is big enough—and well defined enough—to create more than enough opportunities, you need to make a lot of calls.The First ThirdAt any given time, one-third of the prospects on your list will be dissatisfied. You have no idea which third of these prospects are dissatisfied. And you have no idea who within these prospects is motivated to change.There is no list that you can buy that will tell you who is dissatisfied, why they are dissatisfied, and how motivated they are to improve things (and downloading a white paper or attending a webinar provides very little proof when it comes to real dissatisfaction).The Last ThirdAnother third of your prospects are thrilled beyond belief with the company that sells them whatever you sell.There is no way to tell by looking at a prospect list who is happy with their current provider. You might have some insight as to when they changed, but even that is no guarantee that they aren’t dissatisfied enough to change again.The fact that so many people tell you that they are happy when you cold call them tells you nothing about whether they are dissatisfied enough to change. Mostly, it tells you that they didn’t hear enough value in your pitch.The Middle ThirdThe middle third is made up of prospects that are neither happy or unhappy. The dissatisfaction they should have lies dormant. They aren’t in love with the people they work with, and they aren’t unhappy enough about anything to take action. They’re coasting along with things as they are.It’s easier to create opportunities where major dissatisfaction exists. But it feels like this middle third is more like ninety percent of companies, even though that isn’t true.You can develop the case for change within this third, even if it isn’t easy.Make Your CallsYou are never going to know which prospect belongs in which category unless you pick up the phone and call them. The copied and pasted email isn’t going to help you. The comments you are making in LinkedIn groups aren’t going to tell you who is who either.You can make the calls you need to make in a few weeks. Or you can take forever and never succeed at building the pipeline you need—or the opportunities you should be working on.Make your calls.How do you find the prospects who are dissatisfied enough to consider changing?How do you identify the prospects where you might be locked out due to some sort of mismatch that would disqualify them?How do you determine who has a form of dissatisfaction that is lying dormant, waiting to be developed?
ATHENS – A 10-year-old Irish fan of Greek striker Georgios Samaras who captured attention with his delight over the player during the World Cup was honored along with him Dec. 15 by the Greek Sports Journalists’ Association, which honored outstanding achievements in sports in a gala in Athens.Jay Beatty, who has Down’s syndrome, became a fan of Samaras when the Greek soccer star was playing for Celtic – the boy’s favorite team. They became media sensations when Samaras picked him up from the crowd when the Glasgow team lifted the Scottish Premiership trophy in May.Fans of both laughed a social media campaign to try to get the boy to the World Cup in Brazil but the dates clashed with a family holiday and he couldn’t accept an invitation from the Greek Soccer Federation.Jay’s father, however, posted a video showing the young boy in a Greece jersey and celebrating the team’s victory over Ivory Coast which went viral.Samaras was awarded for his “contribution to sports and his ethos” at the event held at the Peace and Friendship Stadium. The award was for “the message of humanity and sensitivity which they sent worldwide.”“This event is being televised live to the Greek nation and Jay will be receiving an award on the night along with his hero Samaras,” Martin Beatty, the boy’s father, was quoted by the Belfast Telegraph as saying prior to the trip to Greece. “It’s hard to believe that a wee 10-year-old boy with Down’s syndrome will be flying to Athens to receive this.”Wee Jay celebrates his 11th birthday on December 23.TweetPinShare0 Shares
MINNEAPOLIS (AP) — Andrew Wiggins had 25 points in three quarters, Jimmy Butler pitched in 21 points and tight defense on LeBron James, and the Minnesota Timberwolves cruised to a 127-99 victory over Cleveland on Monday night that stopped a 12-game home losing streak to the Cavaliers.Karl-Anthony Towns (19 points, 12 rebounds) and Taj Gibson (16 points, 13 rebounds) were tenacious around the basket for the Timberwolves, who outrebounded the Cavs 56-37 and had a 60-42 advantage in points in the paint.James had just 10 points on 4-for-8 shooting, taking his first loss at Minnesota since Feb. 17, 2005. Cleveland fell behind by as much as 41 points in the third quarter after a dunk by Wiggins.Butler had plenty to do with that, contributing nine assists and eight rebounds before resting during the fourth quarter, too. The Wolves led 69-42 at halftime.Jeff Green scored 22 points off the bench to lead the Cavs, who’ve lost six of their last nine.WARRIORS 124, NUGGETS 114OAKLAND, Calif. (AP) — Stephen Curry scored 32 points and dished out nine assists in another superb performance during his sensational recent stretch, and Golden State avenged an ugly home loss to Denver in late December.Klay Thompson scored 19 on his bobbblehead night while Draymond Green added a season-high 23 points and 10 assists in the defending NBA champions’ fifth straight victory on a night when Kevin Durant sat out his third consecutive game with a strained right calf.Nikola Jokic had his first triple-double of the season with 22 points, 12 rebounds and 11 assists as four players scored 20 points or more for the Nuggets.Curry had his 12th 30-point game of the season. The two-time MVP has scored 29 or more points in seven straight games.SPURS 107, KINGS 100SACRAMENTO, Calif. (AP) — LaMarcus Aldridge had 31 points and 12 rebounds, and San Antonio came back from 13 down in the second half to beat Sacramento despite playing without Kawhi Leonard and Manu Ginobili.Davis Bertans scored a career-high 28 points on 11-of-15 shooting with six 3-pointers. Patty Mills added 14 points and five assists, and Bryn Forbes scored 12 to help the Spurs to their 12th consecutive win over the Kings.San Antonio closed on a 10-3 run.Willie Cauley-Stein had 22 points and nine rebounds for the Kings.RAPTORS 114, NETS 113, OTNEW YORK (AP) — DeMar DeRozan scored 35 points, including a go-ahead three-point play with 26.1 seconds left in overtime, and Toronto shook off a late injury to Kyle Lowry to beat Brooklyn.The Raptors lost a 10-point lead in the final 4 1/2 minutes of regulation and then lost Lowry after a hard fall in OT, but at least won the game, just as they always do against the Nets.Toronto beat Brooklyn for the 10th straight time and won its fifth in a row overall.Jonas Valanciunas had 21 points and 13 rebounds for the Raptors. Lowry finished with 18 points and 11 assists, but had to be carried off the court after landing on his lower back while going for a rebound.Spencer Dinwiddie scored a career-high 31 points for the Nets, but his wild shot on a last drive went over the backboard.PACERS 109, BUCKS 96INDIANAPOLIS (AP) — Domantas Sabonis had 17 points and 10 rebounds and three of his teammates each scored 15 to lead Indiana past Milwaukee.Indiana has won two straight since a five-game losing streak. Victor Oladipo, Thaddeus Young and Myles Turner all scored 15 points.The Bucks were led by Khris Middleton with 19 points and Giannis Antetokoumpo with 17.It was a complete reversal from the Bucks’ 21-point victory over Indiana last week.This time, the Pacers dominated most of the final 42 minutes by creating turnovers and forcing Milwaukee into bad shots after hitting 18 of their first 25 attempts.Indiana broke it open by scoring 20 straight points in the first quarter to turn a 15-14 game into a blowout. The Pacers finished the period on a 22-2 spurt to make it 37-16.ROCKETS 116, BULLS 107CHICAGO (AP) — Eric Gordon and Chris Paul each had 24 points and nine assists, Gerald Green scored 22 and Houston beat Chicago.Trevor Ariza hit six 3-pointers and scored 18 to go with nine rebounds. Clint Capela added 15 points and 16 rebounds, and the Rockets won for the third time in 10 games despite blowing a 21-point lead.Bobby Portis led the Bulls with 22 points. Denzel Valentine and Kris Dunn each scored 19, but Chicago lost for the fifth time in six games.With NBA scoring leader James Harden missing his fourth consecutive game because of a strained hamstring, the Rockets regained control after falling behind early in the third.They scored eight straight to stretch a two-point edge to 10 late in the quarter and took an 87-76 lead into the fourth after Green and Paul nailed back-to-back 3s. Houston was in charge the rest of the game.PELICANS 112, PISTONS 109NEW ORLEANS (AP) — DeMarcus Cousins scored 16 of his 20 points after Anthony Davis left with an ankle injury in the third quarter, and New Orleans held off Detroit.Rajon Rondo capped a 12-point, 15-assist performance with two transition layups in the last 1:21 to help secure a victory the Pelicans needed to restore morale after a listless blowout loss in Minnesota over the weekend.Davis dominated before he left with 4:41 remaining in the third, scoring 30 points and grabbing 10 rebounds in 27 minutes. He walked to the locker room, favoring his right ankle, and never returned.Cousins, who also had 10 rebounds, picked up the slack, and E’Twaun Moore finished with 23 points.Tobias Harris scored 25 points and Avery Bradley had 24 for the Pistons, who’ve lost three of four. Andre Drummond, who missed two of Detroit’s previous three games, had 16 points and 14 rebounds.CLIPPERS 108, HAWKS 107LOS ANGELES (AP) — C.J. Williams hit a 3-pointer from the left wing with nine seconds left to lift Los Angeles over Atlanta.Lou Williams led Los Angeles with 34 points but missed a late 3 that was rebounded by Wesley Johnson. He passed the ball out to C.J. Williams for a shot that snapped the Clippers’ two-game skid.Taurean Prince missed a 15-foot jumper with three seconds remaining on Atlanta’s last possession.DeAndre Jordan added 25 points and 18 rebounds as Los Angeles won despite blowing a 13-point lead in the third quarter. The Clippers played without leading scorer Blake Griffin, who suffered a concussion Saturday against Golden State.Prince scored 20 points and Dennis Schroder added 18 for the Hawks, who lost their fourth straight.TweetPinShare0 Shares