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submitted by Amanda Rosso Buckton on 25.01.2014

Mary Rosso

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History > Photography

submitted by Angelos Grammenos on 11.06.2011

Award to George Miller, from the Union of Ionian Islands

Download a .pdf "report" of the Eptanesian Award to George Miller here:

George_Miller_background.pdf

Βραβείο στον Γιώργο Μηλιώτη - George Miller από την Ένωση Επτανησίων Η Ένωση Επτανησίων Ελλάδας, στο πλαίσιο βράβευσης σημαντικών προσωπικοτήτων των Ιονίων νήσων που τιμούν με το καλλιτεχνικό, πνευματικό και επιστημονικό έργο τους τον τόπο καταγωγής τους, τιμά στην Αθήνα την 29η Μαΐου 2011 & ώρα 18:00, στο Μέγαρο Παλαιάς Βουλής, Σταδίου 13 στην Αθήνα, με βραβείο και έκδοση προσωπικού γραμματοσήμου τον Ιατρό, σκηνοθέτη, σεναριογράφο και παραγωγό, Γιώργο Μηλιώτη - George Miller από τα Κύθηρα, που ζει και εργάζεται στην Αυστραλία.

The Union of Ionian (Seven) Islands, on 29th May 2011, at 6:00 pm, in the Old Parliament House, Syntagma Square, Athens, conferred awards on 2 persons from each of 6 of the Ionian Islands, and 3 persons from Kythera. Greek Post will follow up this award, by issuing a postage stamp in each awardees honour.

The three from Kythera were, Professor Nikos Petrochilos, Athens and Hora, Kythera, Greece, & Vasilis Kailas, cinema and theatre actor, Athens, Greece & George Miller, Film Producer, Sydney Australia.

Below is a brief profile of George Miller, and his achievements.

Ποιός είναι :

Ο Γιώργος Μηλιώτης ή George Miller γεννήθηκε στις 3 Μαρτίου 1945 στο Qyeensland της Αυστραλίας. Οι γονείς του Δημήτρης και Αγγέλα είχαν μεταναστεύσει εκεί από το χωριό Μητάτα των Κυθήρων. Το ζευγάρι παντρεύτηκε και εγκαταστάθηκε στο Tσιντσιλά και απέκτησε τέσσερις γιους. Οι δύο πρώτοι ο Γιώργος και ο Γιάννης ήταν οι μη ταυτόσημοι δίδυμοι. Αργότερα, γεννήθηκαν ο Χρήστος και Βασίλης.Γιώργος έμαθε τα πρώτα του γράμματα στο Ipswich Grammar School και αργότερα Γυμνάσιο Αρρένων του Σίδνεϊ, στη συνέχεια σπούδασε Ιατρική στο Πανεπιστήμιο της Νέας Νότιας Ουαλίας με τον δίδυμο αδελφό του Ιωάννη. Ενώ βρισκόταν στο τελευταίο έτος της το έτος της Ιατρική Σχολή (1971), ο Γιώργος και ο νεώτερος αδελφός του Chris έκανε μια μικρού μήκους ταινία που κέρδισε το πρώτο βραβείο σε μαθητικό διαγωνισμό. Το 1971, ο Γιώργος παρακολούθησε μαθήματα στο Film Workshop του Πανεπιστημίου της Μελβούρνης, όπου είχε συμφοιτητή τον Μπάιρον Κένεντι, με τον οποίο διαμόρφωσε μια μόνιμη φιλία. Το 1972, ολοκλήρωσε στο Σίδνεϊ St Vincent του Νοσοκομείου, ξοδεύοντας το χρόνο του σε σύντομες πειραματικές ταινίες. Η συνεργασία αυτή στη συνέχεια διατηρήθηκε για πολλά έργα. Εργάστηκε για λίγο ως ιατρός και στη συνέχεια αφιερώθηκε στο κινηματογράφο, γράφοντας σενάρια και σκηνοθετώντας ταινίες που έγιναν διεθνείς επιτυχίες.Το υπόβαθρο στην ιατρική του Γιώργου Μηλιώτη αντικατοπτρίζεται στους κύριους χαρακτήρες στις ταινίες Max Mad, Max Rockatansky. Είναι μια αναφορά στο βαρώνο Καρλ φον Rokitansky, ο οποίος ανέπτυξε τις πιο κοινή διαδικασία για την αφαίρεση των εσωτερικών οργάνων κατά τη νεκροψία, εξακολουθεί να ονομάζεται διαδικασία Rokitansky. Έγραψε και σκηνοθέτησε το Mad Max ταινίες με πρωταγωνιστή τον Μελ Γκίμπσον ( Mad Max , Mad Max 2 (γνωστή στις Ηνωμένες Πολιτείες, όπως The Road Warrior ), καθώς και Mad Max Beyond Thunderdome ) συνέγραψε το Babe και έγραψε και σκηνοθέτησε το Lorenzo’s Oil. Σκηνοθέτησε επίσης την ταινία : Οι Μάγισσες της Eastwick , με πρωταγωνιστή τον Τζακ Νίκολσον , Σούζαν Σάραντον , Σερ και Μισέλ Φάιφερ. Η τελευταία του ταινία, Happy Feet θεωρείται μια από τις καλύτερες ταινίες όσον αφορά στην σκηνοθεσία, την κίνηση της κάμερας και το μοντάζ. Η ταινία σάρωσε σε εισπράξεις και σε βραβεία.

Το 2007 βραβεύτηκε με το Όσκαρ καλύτερης ταινίας κινουμένων σχεδίων από την Αμερικανική Ακαδημία Κινηματογράφου. Επίσης η ταινία του Babe (1995) είχε βραβευθεί με το Όσκαρ καλύτερων εφέ, ενώ ο ίδιος ήταν υποψήφιος για το Όσκαρ σεναρίου για το φιλμ Lorenzo’s Oil, το 1992. Ο Γιώργος Μηλιώτης δηλώνει ότι λατρεύει την Ελλάδα και πως το γεγονός ότι είναι Ελληνικής καταγωγής τον βοήθησε να διακριθεί στον κινηματογράφο.Υπήρξε συμπαραγωγός και σκηνοθέτησε πολλές αναγνωρισμένες μίνι σειρές για την αυστραλιανή τηλεόραση συμπεριλαμβανομένης της : Η απόλυση (1983) και Η Cowra Breakout (1984).

Αν ρωτήσει κανείς σήμερα τον Δρ George Miller θα απαντήσει ότι όλες οι ταινίες του είναι ένα και το αυτό, αν επικεντρωμένες στην ανθρώπινη κοινωνία ή το ζωικό βασίλειο, άσχετα αν απλώνονται στην άμμο της αυστραλιανής Outback, τα προάστια της Ουάσιγκτον, DC, ή τα παγόβουνα της Ανταρκτικής. Παραγωγός του, νεκρή ηρεμία και της μίνι τηλεοπτικής σειράς Μπανγκόκ Hilton και το Βιετνάμ, όλες με πρωταγωνίστρια την Nicole Kidman, έπαιξε σημαντικό ρόλο στην πρόωρη ανάπτυξη της σταδιοδρομίας της. Ήταν επίσης και ο δημιουργός του Happy Feet, ένα μουσικό έπος για τη ζωή των πιγκουίνων στην Ανταρκτική που η κινηματογραφική εταιρεία Warner Bros κυκλοφόρησε τον Νοέμβριο του 2006. Το Happy Feet έφερε στον Miller την τέταρτη υποψηφιότητα, για Όσκαρ. Όπου τελικά κέρδισε το πρώτο του βραβείο στην κατηγορία της Καλύτερης Ταινίας Κινουμένων Σχεδίων.

Ο Miller είναι ο στυλοβάτης του Αυστραλιανού Ινστιτούτου Κινηματογράφου και του BIFF (Brisbane International Film Festival) καθώς και Φεστιβάλ Κινηματογράφου του Σίδνεϊ. Σήμερα εργάζεται πυρετωδώς για να ολοκληρώσει την ταινία του Happy Feet 2 και προετοιμάζει το πολυαναμενόμενο τρίτο Mad Max με προσωρινό τίτλο Mad Max: Fury Road.

Οι βραβεύσεις αναλυτικά :

1982: Κερδίζει για το The Road Warrior, Βραβείο Καλύτερης Σκηνοθεσίας και Καλύτερης Ταινίας Μοντάζ (από κοινού με άλλους) από το Ινστιτ. Κινηματογράφου της Αυστραλίας.

1987: Κέρδισε για το ΕΣΠΑΣΕ Η ΦΩΝΗ ΜΟΥ, Βραβείο Καλύτερης Ταινίας (παραγωγός), μοιράζεται με Doug Mitchell και Terry Hayes, από το Ινστιτ. Κινηματογράφου της Αυστραλίας.

1990: Κέρδισε για το ΦΛΕΡΤ, Βραβείο καλύτερης εικόνας (ως παραγωγός), που μοιράζεται με τον Doug Mitchell και Terry Hayes, από το Ινστιτούτο Κινηματογράφου της Αυστραλίας,

1993: Βραβείο 'Οσκαρ για το Lorenzo’s Oil, Καλύτερου Σεναρίου που μοιράζεται με τον συγγραφέα Νίκ Enright.

1996: Υποψηφιότητες για δύο Όσκαρ για το Bab, καλύτερης εικόνας (ως παραγωγός) και Καλύτερου Σεναρίου, μοιράζεται με τον συγγραφέα Chris Noonan.

1999: Έλαβε τιμητική διάκριση από το Πανεπιστήμιο της Νέας Νότιας Ουαλίας. 2007: Κέρδισε Όσκαρ για το Happy Feet, Best Animated

Feature. 2007: Κέρδισε βραβείο BAFTA για το Happy Feet, Best Animated Feature.

2007: Έλαβε το Queensland - Ηνωμένες Πολιτείες Βραβείο επιτεύγματος στο Queensland Expatriate βραβείο, στο Δωμάτιο Rainbow στη Νέα Υόρκη.

2007: Έλαβε το Βραβείο FIAPF για εξαιρετικές επιδόσεις στον κινηματογράφο στο Screen Βραβεία του Ειρηνικού της Ασίας.

2007 (Απρίλιος): σε επίτιμο Master of Arts από την αυστραλιανή Σχολή Κινηματογράφου Τηλεόρασης και Ραδιοφώνου.

2007: Έλαβε το Παγκόσμιο βραβείο AFI.

2008: Αναγορεύθηκε σε επίτιμο διδάκτορα από το Πανεπιστήμιο Griffith.

2009: Βραβείο του Γαλλικού Τάγματος Γραμμάτων και Τεχνών.

2010: Αναγορεύεται ως ο πρώτος μη - Αμερικανός σκηνοθέτης που έγινε «επίτιμο μέλος» της VES. (Visual Effects Society's) για τη μακρόχρονη συμβολή του στη βιομηχανία κινηματογράφου.

History > Photography

submitted by James Victor Prineas on 12.08.2008

Windmill Hotel Mitata

Windmill Hotel Mitata

History > Photography

submitted by James Victor Prineas on 12.08.2008

Windmill Hotel in Mitata, Kythera

Windmill Hotel in Mitata, Kythira

History > Photography

submitted by Adoni Firos on 28.07.2008

Land Mitata

land at in mitata for sale

History > Photography

submitted by Sydney Morning Herald on 01.01.2007

George Millers Happy Feet. A Review

A CG penguin from Happy Feet.

Director: George Miller
Genre: Animation
Run Time: 108 minutes
Rated: G
Country: United States
Actors: Voice Cast: Elijah Wood, Hugh Jackman, Nicole Kidman, Robin Williams, Brittany Murphy, Steve Irwin.
Rating: stars3half

Happy Feet

Sandra Hall, reviewer

December 26, 2006

http://www.smh.com.au/news/film-reviews/happy-feet/2006/12/26/1166895271622.html

George Miller's new animated musical turns flightless birds into tapdancing heroes.

It takes a special kind of optimist to stage the life of the emperor penguin as a musical - to recast nature's greatest stoic as a party animal.

Yet that's what Australian director George Miller and the special effects house Animal Logic have done - so successfully that it's going to take some time before I can look at the snowy breast of a penguin without imagining that it contains the tap-tapping heart of a Sammy Davis jnr.

But to backtrack a bit, Miller's penguins do not start out as natural dancers. It takes a rare bird to persuade them of the pleasures of moving their feet to music. His name is Mumble, and his father, Memphis - voiced by Hugh Jackman, sounding as if channelling James Stewart - is very worried when his hatchling emerges from the egg with feet that can't keep still. It just "ain't penguin" and it has to stop.

But Mumble's mother, Norma Jean - breathily voiced by Nicole Kidman, taking her cue from Marilyn Monroe - is more sanguine. If her boy wants to dance, let him. As long as he can sing, everything will be all right, for an emperor penguin's heartsong is his signature.
Without it, he will not attract a mate and his future will be blighted.

So Mumble (Elijah Wood) tries hard to find his voice but when the colony's best teachers fail to coax anything from him but an ear-splitting squawk, he has to give up.

The frozen, monochromatic world of the Antarctic hardly seems the place for a film so reliant on the joys of colour and movement. After all, penguins themselves have trouble distinguishing one black-and-white body from another in the press of birds who come together at feeding and hatching time. That's why they need a song.
But black and white is just part of the palette here.

Miller's team made their own trips to the Antarctic to take the photographs they used as reference for the film's backgrounds, in which the luminous blues of sky, sea and ice are accented with pink and gold to produce symmetry without uniformity.

And it's not hard to tell one penguin from another. Norma Jean wiggles rather than waddles. Memphis stands tall and Mumble, though he grows, fails to lose his fluffy coat and take on the sleek lines of other young penguins. It's as if his inability to sing has turned him into an eternal adolescent, which is pretty tough as he's already fallen for gorgeous Gloria (Brittany Murphy), who can have anyone she wants.

The dancing has been choreographed with the use of motion capture, which means that Mumble's moves are based on those of a human tap dancer. Even so, his own anatomical features - the fact that most of his movements are performed by the neck, flippers and feet - mean that he's never less than penguinly. He's no Gene Kelly, but tap, with its combination of rigidity and rhythm, suits him just fine.

The music is an irresistible melange of old favourites, ranging from Pagliacci to the Beach Boys, whose music enlivens a swooping underwater number, and the soundtrack goes Latin when Mumble, evicted from the colony, takes up with a group of Adelie penguins, who sound as if they've dropped in from South America. Led by Ramon (an unsink-able Robin Williams), they'd swing their hips if they had any and, in their company, Mumble begins to entertain the thought that his urge to dance might be cool.

The need for suspense is not neglected either. Predators abound and there's a breathtaking underwater chase in which Mumble narrowly avoids becoming a leopard seal's breakfast.

The plot takes an environmental tilt towards the end, sustaining a few blows to its credibility during the shift. But by then, Mumble and friends had built up such goodwill that I could probably have gone along if he'd morphed into Al Gore.

History > Photography

submitted by James Victor Prineas on 03.08.2006

Babe. Film Poster.

Babe Plot Synopsis

by Judd Blaise

A young pig fights convention to become a sheep dog — or, rather, sheep pig — in this charming Australian family film, which became an unexpected international success due to superior special effects and an intelligent script. The title refers to the name bestowed on a piglet soon after his separation from his family, when he finds himself on a strange farm. Confused and sad, Babe is adopted by a friendly dog and slowly adjusts to his new home. Discovering that the fate of most pigs is the dinner table, Babe devotes himself to becoming a useful member of the farm by trying to learn how to herd sheep, despite the skepticism of the other animals and the kindly but conventional Farmer Hoggett (James Cromwell). Because technically impeccable animatronics and computer graphics allow the farm animals to converse easily among themselves, first-time director Chris Noonan can treat the film's menagerie as actual characters, playing scene not for cuteness but for real emotions. The result is often surprisingly touching, with Noonan and George Miller's script, based on Dick King-Smith's children's book and, indirectly, a true story, seamlessly combining gentle whimsy and sincere feeling. These same qualities are embodied by in Cromwell's beautifully understated performance as Farmer Hoggett, which anchors the film. Despite its unlikely premise and low profile, Babe's inspirational story was embraced by audiences and critics, and the movie became an international sleeper that won an Academy Award nomination for Best Picture. It was followed in 1999 by the sequel Babe: Pig in the City.

History > Photography

submitted by James Victor Prineas on 03.08.2006

George Miller, with Babe.

Babe Plot Synopsis

by Judd Blaise

A young pig fights convention to become a sheep dog — or, rather, sheep pig — in this charming Australian family film, which became an unexpected international success due to superior special effects and an intelligent script. The title refers to the name bestowed on a piglet soon after his separation from his family, when he finds himself on a strange farm. Confused and sad, Babe is adopted by a friendly dog and slowly adjusts to his new home. Discovering that the fate of most pigs is the dinner table, Babe devotes himself to becoming a useful member of the farm by trying to learn how to herd sheep, despite the skepticism of the other animals and the kindly but conventional Farmer Hoggett (James Cromwell). Because technically impeccable animatronics and computer graphics allow the farm animals to converse easily among themselves, first-time director Chris Noonan can treat the film's menagerie as actual characters, playing scene not for cuteness but for real emotions. The result is often surprisingly touching, with Noonan and George Miller's script, based on Dick King-Smith's children's book and, indirectly, a true story, seamlessly combining gentle whimsy and sincere feeling. These same qualities are embodied by in Cromwell's beautifully understated performance as Farmer Hoggett, which anchors the film. Despite its unlikely premise and low profile, Babe's inspirational story was embraced by audiences and critics, and the movie became an international sleeper that won an Academy Award nomination for Best Picture. It was followed in 1999 by the sequel Babe: Pig in the City.

History > Photography

submitted by James Victor Prineas on 01.08.2006

Mad Max 1. Jessie and Spog are mown down by the Toecutter Gang.

"In the roar of an engine.....Max lost everything."

George Miller. Biography

History > Photography

submitted by James Victor Prineas on 01.08.2006

Mad Max III, Mad Max: Beyond Thunderdome.

Mad Max III, 'Mad Max: Beyond Thunderdome', was released in 1985.

George Miller "was committed to making it for Byron's sake as they had been working on various ideas for the film before he died. George contacted Terry Hayes to help write the screenplay. Terry Hayes had written the Mad Max novelisation and then also the Mad Max 2 screenplay (Terry Hayes pitched his idea for the third film to Mel Gibson as "Mate, think of it as Jesus Christ in Leather Pants!". The third film once again took the character of Max in a totally new direction and was once again a hit with audiences."

Miller became part of a movement dubbed the "Australian New Wave" by the press. They were a group of filmmakers and performers who emerged from "Down Under" at about the same time in the early 1980's and found work in other parts of the world. Other members included actors Mel Gibson and Judy Davis and directors Peter Weir and Gillian Armstrong.

'Writer and film critic Adrian Martin in a recent book The Mad Max Movies (Currency Press and ScreenSound Australia, 2003)argues that in the Mad Max movies George Miller "draws less from his immediate predecessors in independent '70s cinema (such as Martin Scorsese, Robert Altman or Terrence Malick) than from a handful of seemingly classical directors: Alfred Hitchcock, Howard Hawks, Fritz Lang, Orson Welles, Sam Fuller, Jacques Tourneur, Raoul Walsh, Budd Boetticher and Robert Aldrich (whose Kiss Me Deadly [1955] obviously provides inspiration for the character of the Greek-Australian car mechanic played by Nick Lathouris).

But in the borrowing and adapting of tropes from these masters, their formalist and modernist potentiality is heightened, brought into sharp relief. In this crucial sense, the Mad Max films are essays in film criticism, history and theory: they reinvent, help us to see anew, their forebears, and action-horror directors can do this no less than the critics-turned-auteurs of the French New Wave."

History > Photography

submitted by Georgia Cassimatis on 18.07.2006

George Miller and Michael Jonson. 2005.

Two Of Us – George Miller and Michael Johnson

Interviews by: Georgia Cassimatis

Director, Dr George Miller, 59 and best friend, pharmacist Michael Jonson, have known each other since they were 12 years old. With Michael funding George’s first film, Mad Max, they talk about the closeness of their enduring friendship over the past 45 years.

GEORGE:

Micky was the first person I met on my first day at Sydney Boys High School. At the gate there was a hazing ritual; new boys had the tags ripped off their ties the moment they stepped into the school ground. I grew up in rural Queensland so I was a bit green. Micky, this little kid, came out of nowhere and ran me through the gauntlet. The big boys didn’t lay a hand on us and we never lost our tie tags. We became best friends and have remained such for 45years.

We were never in the same class, or clique, but we did coach rowing together. He coxed the senior eight, and I was struck by his effortless authority; here were the cool guys, a lot older and towering over him, doing anything for him.

When he was fourteen he lost his father, so he took on adult responsibility young. He made it through university and started out in business young. That’s not to say he didn’t like to party, and his family home was always a magnet; on any given afternoon at the Johnson’s there’d be up to a dozen people, playing cards, raiding the fridge and, above all, playing cricket and touch football in the back yard.

Micky has always been a very active sportsman; he played rugby for South Australia and touch football for Australia. Then there’s his thing with racehorses. Basically he’s your classic Australian sports tragic; he’ll cross the globe to watch a horse run, or see a cricket or rugby test.

His big love, however, is women. Since we left school he’d call every few weeks to tell me about a fantastic new person he’d met. He’s always jumping in at the deep end, giving all of himself. It’s happened many times and what is amazing to me is that he retains warm friendships with almost all of them. They all fell in love with him for the same reason I did. He has the biggest heart in the world.

Micky is one of those rare souls who gives a whole lot more than he expects to get back. The paradox is of course, that it comes back to him in spades.

Way back, when we went out to raise money for my first movie, Mad Max, everyone thought I was a bit weird. "What’s George doing trying to make movies? What makes him think he can pull off a feature film with no real experience?” Micky never had a second of doubt. He was the first investor and with nothing but dumb faith in me, he brought in others. Without Micky there would have been no Mad Max or the successes that followed and, some would argue, no kick-starts to the careers of Mel and Nicole and so forth.

Of all the people I’ve known the one of whom he reminds me most is Jack Nicholson (Miller directed Nicholson in Witches of Eastwick). They’re both ridiculously loyal to their friends, always falling for beautiful women and both enjoy the deepest affection of anyone who has had the good fortune to encounter them in life.

Over the last couple of years Micky’s had this Herculean battle with cancer and this has somehow amplified all his virtues and wisdoms. When he called to tell me his diagnosis I was shaken, but then he did something that still boggles me; he said the main reason he was calling was to ask a favour for a friend…could I talk to their kid who was desperate to break into the movie business. Typical Micky. He never lacks courage in anything. Eros, Agape and now facing Thanatos. He’s an ornament to the game.

MICHAEL:

My father moved out from Cyprus in 1924 to start a family here. We had a really wonderful childhood: our family was always very close and there was lots of love and warmth. Even though we were Greek ozzies, our Greek heritage was always instilled in us, so we were always going to events like The Young Matrons societies: which were formed by Greek mothers who’d have parties for all the Greek kids so they could get together and maintain their heritage.

I first met George and his twin brother John, at Sydney Boys High School. They were new to town and, being Greek, we’d heard about them. I instantly liked George because of his soft, warm, gentle nature. He’s a considerate, caring guy, which is my type of person.

I remember George used to help his father in their chocolate shop, and I always thought his father was a little hard on him, probably because they had four kids and were doing it tough themselves. So when he didn’t have any money to go to the movies, I’d give him two shillings, and we’d hang out and buy popcorn at half time. He said he’s never forgotten it.

We used to get up to a lot of mischief, a lot of which I can’t mention. But there was one time I remember vividly. Being from the Eastern suburbs, we’d heard stories from my older brother and his mates, about these debaucherous North Shore surfie parties. The year George and I were finally allowed to go, we were so excited and our imaginations ran wild with thoughts of hot girls and lots of orgies. But all that happened was a bunch of guys ran around the house naked with lit newspapers in their butts, called ‘rooster tails’. And the older boys were trying really hard to crack onto all the chicks. We both just sat on the couch like little schoolboys.

George was never a typical Greek boy: he did his own thing and was more off-beat and eccentric. He’d do things like wear a Hawaiian shirt to a Greek dance, when everyone else would be wearing ties. Because of this I wasn’t allowed to have him as my best man; I had to have someone conservative. But when I got married the second time, no one was going to railroad me.

He was also popular with all the girls and had lots of girlfriends. The first time he really fell in love he wrote me a five-page letter about it, which I have framed on my wall here at home.

Even though he has gone on to become successful in the entertainment business, he’s actually quite shy and avoids the limelight if he can. One time at university he asked me to go up and accept an award for him, which I thought was silly and said no, but he got his twin brother to. He’s not into big awards nights either: at the Oscars for Babe, he took his niece just so she could experience it.

When George found out I had cancer he wanted to hop on the first plane from Los Angeles and come back, but I knew he was doing a big business deal and told him it could wait a week.

I haven’t felt crash hot of late, but I did have a wonderful, life-changing experience at the Ian Gawler Foundation in Victoria, which is a retreat for cancer patients, and I’ve asked George if he could help me expand the retreat so it’s Australia-wide. He said he’d be more than willing to be the benefactor and do anything he could.

We both spend a lot of time these days hanging out up at his weekender in Whale Beach. At the end of the day I couldn’t have asked for a better friend who has gone through all my relationships, career, kids and marriages than George. In that respect I feel I’ve had a charmed and blessed life. We both do.


This article, was published in the Good Weekend Magazine, which forms part of the Sydney-Morning-Herald, Sydney - on April 30th, 2005, page 18.

Georgia Cassimatis is the author the article.

A brief profile of her life and career, appears below. It can also be viewed - with photograph - at Photography Diaspora, subsection, Working Life.

Georgia Cassimatis

Georgia Cassimatis began her career as a writer on Australian Cosmopolitan magazine in 1996. After a two year stint, she freelanced for various magazines before being appointed the Editor for teen magazine Barbie. During her time there she met an American man and moved to Los Angeles, which saw her world open up in ways she'd never imagined: she has since worked as a Los Angeles based writer, reporting for lucrative US titles Glamour, Cosmopolitan, Teen and Marie Claire magazines, as well as have her work syndicated internationally.

Born in Australia, Georgia is of Greek decent: her paternal grandfather, John Cassimatis, was born in 1902 in Kythera in the town of Potamos, where his Father was a priest known as Papa Nikolaki. His Mother was Ekaterini Levouni, also of Potamos. He was the 11th of 12 children. Of the nine surviving children, four went to live in Athens and five came to live in Australia, where they had cafes along the Murray River towns. Her grandfather worked in Swan Hill until 1936.

Georgia's paternal grandmother was Georgia Koroneos born in 1917. The second of six children, her father was Panagiotis Koroneos (Poulakis) from Karava and Ayia Pelayia. He was also the President of the Kytherian Society in Athens in the 1930's. Two of his sons went to the USA, and one the aeronautical Engineer returned to live out his life in Agia Pelagia, and the other, became a senator in the Greek parliament.

Panagiotis Koroneos built the wharf at Ayia Pelayia and came to Australia in the late 1950s to find fund raising for the wharf, which lead his travels to many NSW and Queensland towns visiting Kytherians. There is a plaque commemorating his achievement on the wharf.

Georgia Koroneos' mother was Hrisanthi Koroneos who was brought up in the town of Baltimore in the USA where Panagiotis married her, had three kids and returned to Greece.

Georgia's own father, Nicholas Cassimatis, was born in Australia and is a well-known Sydney psychiatrist. Her mother is Anglo Australian with some German blood and loves the Greeks and Kytherian family. Actually her anglo maternal grandfather came to Australia later than her Kytherian forebearers. And Georgia looks Kytherian.

History > Photography

submitted by Georgia Cassimatis on 18.07.2006

George Miller and Michael Jonson. At George's twin brother's wedding in 1970.

Two Of Us – George Miller and Michael Johnson

Interviews by: Georgia Cassimatis

Director, Dr George Miller, 59 and best friend, pharmacist Michael Jonson, have known each other since they were 12 years old. With Michael funding George’s first film, Mad Max, they talk about the closeness of their enduring friendship over the past 45 years.

GEORGE:

Micky was the first person I met on my first day at Sydney Boys High School. At the gate there was a hazing ritual; new boys had the tags ripped off their ties the moment they stepped into the school ground. I grew up in rural Queensland so I was a bit green. Micky, this little kid, came out of nowhere and ran me through the gauntlet. The big boys didn’t lay a hand on us and we never lost our tie tags. We became best friends and have remained such for 45years.

We were never in the same class, or clique, but we did coach rowing together. He coxed the senior eight, and I was struck by his effortless authority; here were the cool guys, a lot older and towering over him, doing anything for him.

When he was fourteen he lost his father, so he took on adult responsibility young. He made it through university and started out in business young. That’s not to say he didn’t like to party, and his family home was always a magnet; on any given afternoon at the Johnson’s there’d be up to a dozen people, playing cards, raiding the fridge and, above all, playing cricket and touch football in the back yard.

Micky has always been a very active sportsman; he played rugby for South Australia and touch football for Australia. Then there’s his thing with racehorses. Basically he’s your classic Australian sports tragic; he’ll cross the globe to watch a horse run, or see a cricket or rugby test.

His big love, however, is women. Since we left school he’d call every few weeks to tell me about a fantastic new person he’d met. He’s always jumping in at the deep end, giving all of himself. It’s happened many times and what is amazing to me is that he retains warm friendships with almost all of them. They all fell in love with him for the same reason I did. He has the biggest heart in the world.

Micky is one of those rare souls who gives a whole lot more than he expects to get back. The paradox is of course, that it comes back to him in spades.

Way back, when we went out to raise money for my first movie, Mad Max, everyone thought I was a bit weird. "What’s George doing trying to make movies? What makes him think he can pull off a feature film with no real experience?” Micky never had a second of doubt. He was the first investor and with nothing but dumb faith in me, he brought in others. Without Micky there would have been no Mad Max or the successes that followed and, some would argue, no kick-starts to the careers of Mel and Nicole and so forth.

Of all the people I’ve known the one of whom he reminds me most is Jack Nicholson (Miller directed Nicholson in Witches of Eastwick). They’re both ridiculously loyal to their friends, always falling for beautiful women and both enjoy the deepest affection of anyone who has had the good fortune to encounter them in life.

Over the last couple of years Micky’s had this Herculean battle with cancer and this has somehow amplified all his virtues and wisdoms. When he called to tell me his diagnosis I was shaken, but then he did something that still boggles me; he said the main reason he was calling was to ask a favour for a friend…could I talk to their kid who was desperate to break into the movie business. Typical Micky. He never lacks courage in anything. Eros, Agape and now facing Thanatos. He’s an ornament to the game.

MICHAEL:

My father moved out from Cyprus in 1924 to start a family here. We had a really wonderful childhood: our family was always very close and there was lots of love and warmth. Even though we were Greek ozzies, our Greek heritage was always instilled in us, so we were always going to events like The Young Matrons societies: which were formed by Greek mothers who’d have parties for all the Greek kids so they could get together and maintain their heritage.

I first met George and his twin brother John, at Sydney Boys High School. They were new to town and, being Greek, we’d heard about them. I instantly liked George because of his soft, warm, gentle nature. He’s a considerate, caring guy, which is my type of person.

I remember George used to help his father in their chocolate shop, and I always thought his father was a little hard on him, probably because they had four kids and were doing it tough themselves. So when he didn’t have any money to go to the movies, I’d give him two shillings, and we’d hang out and buy popcorn at half time. He said he’s never forgotten it.

We used to get up to a lot of mischief, a lot of which I can’t mention. But there was one time I remember vividly. Being from the Eastern suburbs, we’d heard stories from my older brother and his mates, about these debaucherous North Shore surfie parties. The year George and I were finally allowed to go, we were so excited and our imaginations ran wild with thoughts of hot girls and lots of orgies. But all that happened was a bunch of guys ran around the house naked with lit newspapers in their butts, called ‘rooster tails’. And the older boys were trying really hard to crack onto all the chicks. We both just sat on the couch like little schoolboys.

George was never a typical Greek boy: he did his own thing and was more off-beat and eccentric. He’d do things like wear a Hawaiian shirt to a Greek dance, when everyone else would be wearing ties. Because of this I wasn’t allowed to have him as my best man; I had to have someone conservative. But when I got married the second time, no one was going to railroad me.

He was also popular with all the girls and had lots of girlfriends. The first time he really fell in love he wrote me a five-page letter about it, which I have framed on my wall here at home.

Even though he has gone on to become successful in the entertainment business, he’s actually quite shy and avoids the limelight if he can. One time at university he asked me to go up and accept an award for him, which I thought was silly and said no, but he got his twin brother to. He’s not into big awards nights either: at the Oscars for Babe, he took his niece just so she could experience it.

When George found out I had cancer he wanted to hop on the first plane from Los Angeles and come back, but I knew he was doing a big business deal and told him it could wait a week.

I haven’t felt crash hot of late, but I did have a wonderful, life-changing experience at the Ian Gawler Foundation in Victoria, which is a retreat for cancer patients, and I’ve asked George if he could help me expand the retreat so it’s Australia-wide. He said he’d be more than willing to be the benefactor and do anything he could.

We both spend a lot of time these days hanging out up at his weekender in Whale Beach. At the end of the day I couldn’t have asked for a better friend who has gone through all my relationships, career, kids and marriages than George. In that respect I feel I’ve had a charmed and blessed life. We both do.


This article, was published in the Good Weekend Magazine, which forms part of the Sydney-Morning-Herald, Sydney - on April 30th, 2005, page 18.

Georgia Cassimatis is the author the article.

A brief profile of her life and career, appears below. It can also be viewed - with photograph - at Photography Diaspora, subsection, Working Life.

Georgia Cassimatis

Georgia Cassimatis began her career as a writer on Australian Cosmopolitan magazine in 1996. After a two year stint, she freelanced for various magazines before being appointed the Editor for teen magazine Barbie. During her time there she met an American man and moved to Los Angeles, which saw her world open up in ways she'd never imagined: she has since worked as a Los Angeles based writer, reporting for lucrative US titles Glamour, Cosmopolitan, Teen and Marie Claire magazines, as well as have her work syndicated internationally.

Born in Australia, Georgia is of Greek decent: her paternal grandfather, John Cassimatis, was born in 1902 in Kythera in the town of Potamos, where his Father was a priest known as Papa Nikolaki. His Mother was Ekaterini Levouni, also of Potamos. He was the 11th of 12 children. Of the nine surviving children, four went to live in Athens and five came to live in Australia, where they had cafes along the Murray River towns. Her grandfather worked in Swan Hill until 1936.

Georgia's paternal grandmother was Georgia Koroneos born in 1917. The second of six children, her father was Panagiotis Koroneos (Poulakis) from Karava and Ayia Pelayia. He was also the President of the Kytherian Society in Athens in the 1930's. Two of his sons went to the USA, and one the aeronautical Engineer returned to live out his life in Agia Pelagia, and the other, became a senator in the Greek parliament.

Panagiotis Koroneos built the wharf at Ayia Pelayia and came to Australia in the late 1950s to find fund raising for the wharf, which lead his travels to many NSW and Queensland towns visiting Kytherians. There is a plaque commemorating his achievement on the wharf.

Georgia Koroneos' mother was Hrisanthi Koroneos who was brought up in the town of Baltimore in the USA where Panagiotis married her, had three kids and returned to Greece.

Georgia's own father, Nicholas Cassimatis, was born in Australia and is a well-known Sydney psychiatrist. Her mother is Anglo Australian with some German blood and loves the Greeks and Kytherian family. Actually her anglo maternal grandfather came to Australia later than her Kytherian forebearers. And Georgia looks Kytherian.

History > Photography

submitted by Kytherian Newsletter Sydney on 14.04.2006

The Honourable Bob Carr, Peter Prineas & George Poulos.

At the Sydney launch of Peter Prineas' book, Katsehamos and the Great Idea.

See also:

Speech introducing Bob Carr at the Sydney launch

Review(s) of the book

Professor Janis Wiltons' speech, Bingara book launch

Details of the Bingara book launch, photograph unveiling, and 70th Anniversary Ball

Founders photographs unveiled, Roxy, Bingara

Flyer_-_Roxy_70th_Anniversary.pdf

Kytherians flocked to Bingara from everywhere

Peter Feros's descendants

Descendants and freinds of Roxy Theatre founder, Peter Feros


The book Katsehamos and the Great Ideais available from the publisher,
Plateia Press,
32 Calder Road, Darlington, NSW,
or email here
phone (02) 9319 1513
and also from Gleebooks, 49 Glebe Point Road, Glebe NSW, 2037 and selected bookshops.

Katsehamos and the Great Idea is also available in the New England and Northwest region of NSW, from the Roxy Theatre, Maitland Street, Bingara.
Phone: 02 67240003
or email here

For further information
Phone: Sydney, (02) 9319 1513
Mobile: 0429 322 857

History > Photography

submitted by Janis Wilton on 06.04.2006

Katsehamos and the Great Idea, by Peter Prineas,

Professor Janis Wilton and author, Peter Prineas, outside the Roxy Theatre, Bingara, April 1, 2006.


New book 'taps into my own passions' Professor tells Roxy audience.

published by Plateia, Sydney, 2006.

An address given at the book launch,
Roxy Theatre, Bingara, April 1, 2006
by Associate-Professor Janis Wilton,
School of Classics, History and Religion,
University of New England, NSW.


'Katsehamos and The Great Idea' is an engaging book that taps into topics and experiences which are close to my own passions. It pulls together family history, immigration history and local history. It provides strong portraits of individuals, their personalities, desires, frailties, failures and achievements. It locates Australian experiences in a broader world context, especially a context which links to Greece and to events in Europe. It offers strong descriptions of different places. It utilises oral histories, government records, newspaper articles, family photographs and other memorabilia. And, above all else, it is easy to read and engaging.

The focus is the Roxy Theatre in Bingara, north-western NSW, but, rather than dominating the book, the Roxy provides an anchor for exploring topics like the lives and experiences of the three men responsible for building the theatre, the nature and networks of Kytherian immigrants both in and beyond Australia, and the place of cafes and cinemas in the political, social and economic life of Bingara.

Let me give you a taste of the range, depth and style of the book and of the ways in which Peter has woven his account of uncovering the various stories with the stories themselves.

The book begins in Kythera with Peter describing his first encounter with his ancestral island and the family village of Mitata in the 1970s. The landscape, the feel of the place, the colours and contours come through.

'Mitata, my family's village, is high up in the centre of the island. It sits on the edge of a plateau above a verdant ravine filled with orchards and garden and watered by an unfailing spring. From the village square or plateia you can look down on lemon trees and funereal cypresses, and follow the line of the dry watercourse as it passes beneath the hill of Palaiokastro to the olive groves at Palaiopolis and the sea.
Mitata was a village of closely-set stone houses with tiled roofs, the narrow streets converging on the plateia and the great domed church of Aghia Triatha. Around the plateia or not far from it were a couple of kafenia, while the school and the municipal building stood a little distance away. There were many empty houses, some of them falling into ruin, but many were lived in and cared for, their rubble walls sealed with cement and whitewash, the wooden doors and shutters painted an innocent blue.'

This is a style repeated throughout the book - different places in the story get evocative descriptions of their natural and built environments.
'At Manilla, and north through Barraba and Bingara, the country is like a great ramp descending from the high tableland of New England to the western plains of New South Wales. It is hill country, warmer and drier than New England, with good grazing land marked out by box trees and red gum, while the barren ridges and stony hills carry ironbarks and white cypress. The Namoi flows beneath tall river oaks, river red gums and twisted angophoras, and as it makes its way west the river passes the volcanic spires of the Nandewar Range. Tall trees grow on the high ridges there, forests of silvertop ash and manna and mountain gum, and ghostly snow gums haunt the peak of Kaputar.'

These are the perceptions and words of a person well versed in viewing and treasuring our environment. They reflect very much on Peter's life and work in nature conservation. His earlier books include Wild Places and Colo Wilderness.
Chapter two is set in America. Peter went there in search of the records and experiences of his grandfather and other family members who migrated to the United States early in the twentieth century and before eventually migrating to Australia. In this chapter - as elsewhere in the book - there are reflections on the challenges facing family historians as they disentangle family myths, contradictory evidence, and silences. For example, is the Panayiotis Firos who appears in the American immigration records, Peter's grandfather or someone else with a similar name? Why do family members give different accounts and dates of their migration experiences at different times? is this to do with illegal immigration, faulty memory, changing stories to fit changing circumstances? Peter speculates and offers answers.

Peter also mines his sources to create a sense of the personalities of individuals central to his story. For example, he provides the following description of his great uncle Philippos Feros drawing partly on 1910 shipping records held in the United States:

'A few years older than his brother Panagiotes, Philippos was a strong man with the build of a wrestler. He had been a sailor with the British Merchant Service. He had served in the Greek Army. He knew his way around. The carefully formed script of the passenger manifest is disturbed in several places by what may be Philippos' insistent hand. He would not have his name spelt 'Fyros'; it is struck out and 'Firos' written in its place. Later, following his brother Peter's example, he would change the spelling to 'Feros'. He would not be described as a 'workman'; this was struck through and 'sailor' written in its place. Nor would he allow anyone to demean his financial standing; where '$25.00' had been written as the amount of cash in his possession, this was crossed out and '$38.00' written instead.'

Another important feature of the book is the amount of detail given on the impact of wars in Europe, the military service of family members, and the importance of ongoing connections to Kythera. Migration to Australia did not mean cutting off ties with home: wives and children often stayed behind in Kythera, visits home were desired and expected. Indeed, it was while Panagiotes Firos (Peter Feros) was on a visit to his family in Kythera that his two partners in Peters & Co here in Bingara, decided to expand and get the building of the Roxy complex underway.

Peter's excursion into what he labels at one stage 'the cinema wars' is particularly revealing. He provides background on the open air cinema created in Bingara in 1912 by William Finkernagel and John Veness, the demise of that cinema through Victor Peacocke's creation of the Regent Theatre in the Soldiers' Memorial Hall, and then the campaign by Peacocke to sideline the Roxy Theatre development. Into the mix go anti-Greek sentiments, lobbying of government agencies, and a newspaper advertising campaign.

There are also fond and evocative memories of the entertainment offered through the Roxy, the food served at the local cafes, and the interiors and staff of those cafes. There is a detailed account and description of the building of the Roxy, its features, its programs, its failure as a business enterprise for its three founders and its subsequent history. There are also details about what happened to the Roxy's founders after the failure of their business enterprise.

These are but small tastes of what the book has to offer.
It is a book that provides insights into local, family and community history. It evokes the loneliness and challenges of migration. It portrays life in Bingara in the 1930s. And it reveals the passion and commitment of its author in his journey of discovery into his own history and heritage, and his willingness and ability to share the fruits of that discovery with a wider audience.

It is my honour and pleasure to launch 'Katsehamos and the Great Idea' written by Peter Prineas as part of the celebrations to mark the seventieth anniversary of the Roxy Cinema and as an acknowledgement of the important contribution made not just by Peter Feros (Katsehamos), George Psaltis (Katsavias) and Emmanuel Aroney (Theodoropoulos), the founders of the Roxy, but by all Greek immigrants who, particularly during the first part of the twentieth century, contributed significantly to the services and lifestyles available in towns throughout regional Australia.

The book is available from the publisher,
Plateia Press,
32 Calder Road, Darlington, NSW,
or email here
phone (02) 9319 1513
and also from Gleebooks, 49 Glebe Point Road, Glebe NSW, 2037 and selected bookshops.

Katsehamos and the Great Idea is also available in the New England and Northwest region of NSW, from the Roxy Theatre, Maitland Street, Bingara.
Phone: 02 67240003, or
email here

History > Photography

submitted by O Kosmos on 05.04.2006

Katsehamos and the Great Idea.

Author: Peter Prineas
When Published: 2006
Publisher: Plateia Press
Available: Plateia Press,
32 Calder Road, Darlington, NSW,
or email here
phone (02) 9319 1513
and also from Gleebooks, 49 Glebe Point Road, Glebe NSW, 2037 and selected bookshops.

Katsehamos and the Great Idea is also available in the New England and Northwest region of NSW, from the Roxy Theatre, Maitland Street, Bingara.
Phone: 02 67240003
or email here

Description: Paperback, 240pp, Bibliography, Index.


From, O Kosmos, Thursday 30th March, 2006. p.25.

Country town picture theatre reveals a different history

When Peter Prineas learned in 2004 that his grandfather, Peter Feros, nicknamed ‘Katsehamos’, had built a picture theatre in the small town of Bingara in the 1930s, he wanted to know more about it. The result is ‘Katsehamos and the Great Idea - a true story of Greeks and Australians in the early twentieth century’, a book that digs deep into the shared history of Greeks and Australians, and the sometimes turbulent relations that existed between them in the period during and after the First World War. Along the way the story offers a different perspective on Gallipoli and other aspects of Australian history.

Prineas follows Peter Feros’s journey to America as a sixteen year-old boy in 1907, his return to Greece with much patriotic fanfare in 1912 in the company of thousands of other American Greeks to fight in the Balkan Wars, and his journey to Australia in 1921. The book recounts how Peter Feros, with his brothers Phillip and Manolis, between them fought four wars for the ‘Great Idea,’ Greece’s bid to reclaim Constantinople and her former Byzantine glory. The dream was shattered on the plains of Anatolia in 1922.

In Australia, Peter Feros prospered and in the 1930s he became caught up in another ‘Great Idea’. This time it was in the small town of Bingara in north-western NSW where the commercial ambitions of one of his business partners, George Psaltis ‘Katsavias’, entangled him in the building of the ‘Roxy’, an art deco picture theatre impressive enough to grace a city. The book’s account of Bingara’s ‘cinema wars’ is a fascinating addition to Australian picture theatre history. Although success in the cinema business eluded him, Peter Feros endured and went on to build a new life. In the end, ‘Katsehamos’ is about the journey of a man and his family towards accepting, and being accepted by, Australia.

Peter Prineas has worked as a lawyer, environmental consultant and writer. He has written or contributed to books on Australian landscape and environment but ‘Katsehamos’ is his first book of historical writing. He lives in Sydney.

‘Katsehamos and the Great Idea’ was launched at the Roxy Theatre in Bingara by Associate-Professor Janis Wilton of the University of New England, at 6.30 pm on Saturday April 1. The book launch was followed by the unveiling of a plaque and photographs commemorating the three Greeks from Kythera, – Peter Feros, George Psaltis and Emanuel Aroney – who opened the Roxy in 1936. The Roxy Theatre has been restored and reopened by Gwydir Shire Council and is now a regional centre for cinema and the performing arts. A large crowd of Kytherian Greek descendants is expected in Bingara on Saturday for the book launch and dedication which form part of the Roxy Theatre’s 70th anniversary celebrations.

General release of the ‘Katsehamos’ book will commence with the Sydney launch by Bob Carr at 7.00 pm on Wednesday April 12, at 'Alexander's on the Park', ground floor American Express building, 175 Liverpool Street (opposite Hyde Park).

The book will be available from the publisher,
Plateia Press,
32 Calder Road, Darlington, NSW,
or email here
phone (02) 9319 1513
and also from Gleebooks, 49 Glebe Point Road, Glebe NSW, 2037 and selected bookshops.

Katsehamos and the Great Idea is also available in the New England and Northwest region of NSW, from the Roxy Theatre, Maitland Street, Bingara.
Phone: 02 67240003
or email here

For further information
Phone: Sydney, (02) 9319 1513
Mobile: 0429 322 857

History > Photography

submitted by Peter Makarthis on 20.04.2006

Unveiling at Roxy Theatre Bingara

Unveiling of the photographs of the founding partners of Peter's & Co Roxy Theatre at Bingara by Peter Prineas,Saturday 1st april 2006

The unveiling coincided with the launch of the book, Katsehamos and the Great Idea.

More photographs, pp.107-114, in Katsehamos and the Great Idea.


Photo's left to right, then proceeding clockwise:

Left: Peter Feros Katsehamos (left) and George Psaltis Katsavias. Bingara, 1920's.

Top: Roxy Theatre interior, Bingara, 1936, view to back.

Right: Emmanuel Theodropoulos Aronis (Emanuel Aroney), Bingara, 1920's.

Bottom: The Roxy Theatre with unfinished facade, and Peters and Co.'s cafe and shops. Bingara, April 1936.

PLAQUE

THE FOUNDERS OF BINGARA’S ROXY THEATRE

Bingara’s Roxy Theatre was founded by
Peter Feros, George Psaltis and Emanuel Aroney.
The three men came to Australia from the Greek Island of Kythera in the early 1920s and formed the cafe partnership of Peters & Co, Bingara.
The Roxy Theatre opened on Saturday March 28, 1936 to a packed house.
Mr George Psaltis addressed the crowd on behalf of Peters & Co. and
“expressed his appreciation of the support of the people of Bingara and district, whose friendship and encouragement had given them the inspiration to carry on in the face of all the obstacles that had beset them. They were but the servants of the people and they were out to give them the utmost value for money, both in entertainment and service.”


Mr GEORGE COSMAS PROTOPSALTIS, now in his nineties, gave a speech at the unveiling, about the qualities of the founders, and their hard work ethic. George came to Australia at the age of 14 in 1928.

George Cosmas Protospsaltis leaving Kythera as a youth

He worked in cafes in Armidale, and other country towns. He was a partner at the Golden Bell Cafe in Barraba in the late 1930s, a business which was previously owned by Peters & Co., the firm which built the Roxy. George was the only person present who knew personally. the three partners of Peters & Co.


See also:

Review(s) of the book

Professor Janis Wiltons' speech, Bingara book launch

Details of the book launch, photograph unveiling, and 70th Anniversary Ball

Flyer_-_Roxy_70th_Anniversary.pdf

Peter Feros's descendants

Descendants and freinds of Roxy Theatre founder, Peter Feros


The book Katsehamos and the Great Ideais available from the publisher,
Plateia Press,
32 Calder Road, Darlington, NSW,
or email here
phone (02) 9319 1513
and also from Gleebooks, 49 Glebe Point Road, Glebe NSW, 2037 and selected bookshops.

Katsehamos and the Great Idea is also available in the New England and Northwest region of NSW, from the Roxy Theatre, Maitland Street, Bingara.
Phone: 02 67240003
or email here

For further information
Phone: Sydney, (02) 9319 1513
Mobile: 0429 322 857

History > Photography

submitted by Peter Makarthis on 01.04.2006

Peter Prineas & Katsehamos

Peter Prineas at the launch of his book 'Katsehamos and the Great Idea' in the Roxy Theatre at Bingara NSW Australia Saturday 1 April 2006

History > Photography

submitted by James Victor Prineas on 03.12.2005

George and Maria Stamatakou

George and Maria outside their famous restaurant in Mitata in the 1990's. See the article about them in the Notable Kytherians section of this website.

History > Photography

submitted by Eva-Marie Prineas on 30.08.2005

Roger House, Stanmore

This compact Federation semi needed some well-considered rearranging to accommodate more natural light and space. Central to the new home is a glass-door-enclosed lightwell, or mini courtyard, that floods the kitchen and adjoining living room with light, while acting as a natural divider between the two rooms.
Photography: Brett Boardman

See:

http://www.architectprineas.com.au/

And:

http://www.kythera-family.net/index.php?nav=97-154&did=8043

History > Photography

submitted by John George PRINEAS on 24.10.2003

John G Prineas in front of the renovated house at Mitata

The house (Construction Kamares)is about 250 years old.
Renovated in 1994, but unfortunately we had to remove the stables and the fourno.
Previous renovatios were in 1928 and approx back in 1884.
(1884 was inscribed over the door to the courtyard together with a cross.