Core Magazine January 2014

M O N E Y I B E A U T Y I F I L M I FO O D & D R I N K I FA S H I O N

CORE jan/feb 2014

GEORGE CLOONEY

ON NEW MOVIE THE MONUMENTS MEN

INTRODUCING...

MODEL HANNAH GAIR

THE SECRET LIFE OF WALTER MITTY REVIEW BY RACHEL SALVETA

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CORE Contents

CORE Editor’s NotE

Welcome to the first Core issue of 2014 and what better way to kick the year off than with a feature on Mr Espresso himself george Clooney. In an exclusive interview the Hollywood actor discusses new movie the Monuments Men. In fashion we introduce model Hannah gair and in movies we have a review by our resident film critic rachel salveta of the film we featured last month - the secret Life of Walter Mitty.

Over the coming months there are going to be big changes to Core Magazine, which we look forward to sharing with you all...

04

CONTENTS 04 CORE EXCLUSIVE

18 HEALTH & BEAUTY

An exclusive interview with George Clooney.

Health advice with Kelly McChord.

07 COMPETITION

24 FOOD & DRINK

WIN! Mr Peabody & Sherman Core recommended movie prizes. wines.

09 FILM

Enjoy,

10

33 PROPERTY

A review of The Secret Life of Local Property for sale Walter Mitty. with Village Estates.

Drew Hipson, editor

10 FASHION

35 MONEY

Introducing Model Team’s Hannah Gair.

Financial advice with Tom Munro.

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07753 425 348 Disclaimer. This publication may not be reproduced or transmitted in any form by any means, in whole or in part, without the prior written permission of the publisher. The publisher assumes no responsibility to any party for the content of any advertisements in this publication, including any errors and omissions therein.

By placing an advertisement, the advertiser agrees to indemnify the publisher against any claims relating to the advertisement.

All articles, reviews, interviews & design by Drew Hipson unless stated otherwise.

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CORE exCLusIve

ART ATTACK! an exclusive interview with george Clooney

Why did you want to make this movie? george CLooneY: Grant [Heslov] and I make a lot of cynical films, that’s kind of what we like doing. But we thought, what if we did one that just wasn’t so meanspirited? It would be nice to not have to live in a really rotten world all the time!

[Laughs] And we thought this was a fun one to do.

knew something about that. I remembered that Hitler bombed a lot of England but part of the reason he didn’t bomb Paris was because he wanted the art, that he was stealing art and hiding it in mines. I remembered that part of it. Then we started looking at it and it’s like he stole all the art. I mean, he stole millions of pieces.

Big pieces and important pieces of art.

the book the Monuments Men isn’t fiction but it does seem to be a great movie premise: a group of guys ill-equipped and, frankly, too old to be soldiers band together on a mission to save some of the world’s greatest art. gC: Yeah, we were surprised it was such a good fit for a movie. I mean, I remembered THE TRAIN [John Frankenheimer’s 1964 WW2 film about a German soldier smuggling stolen art on a train] though that was such a specific story about this French art, but I’d seen THE RAPE OF EUROPA[2006 documentary about Nazi plundering of looted art] years ago so I

so you had the makings of a good ol’ fashioned war movie… gC: The thing is, when you look at WW2 movies, the reason they run out of steam now is because you know all the stories.

But the reason they worked so well for so long is that you had the greatest bad guy in the history of film and they had good uniforms to put on. You know, there were all the right elements. And here is a story that people don’t know. I didn’t know. And it’s sort of natural for storytelling, for movie making, because you can put together your group of men and send them off and make them all old and, you

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CORE exCLusIve

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CORE exCLusIve

know, that’s fine. Particularly when it’s Bill Murray and John Goodman and Bob Balaban etc.

Were there any other pictures you had in mind as a starting point, like tHe great esCaPe or tHe DIrtY Dozen or tHe WILD geese or any of those kind of big WW2 adventures? gC: Yeah, all of those. But the funny thing was when we started laying out an outline – you know, all Post-it notes on the wall and that kind of thing – we were basing it on our memory of those war films. But then we actually went and bought 30 or so and discovered that for the most part, they don’t really hold up now. There are exceptions – BRIDGE OVER THE RIVER KWAI still works on every level – and you can appreciate elements of others: the storytelling in THE GREAT ESCAPE, the cinematography in THE LONGEST DAY or A BRIDGE TOO FAR, but in general what we ended up making was what we remembered those movies to be, rather than what they really are. We’re not making a 1955 film. We want to make a modern version that’s not alienating to everybody.

With a big, established cast do you have to ensure there’s enough “good bits” to go around? gC: Yeah, you don’t just want to have them there to fill space! But the trick to that is you can’t just serve every single person in every single scene. So you have to really remember that this set of scenes with, say, Bill and Bob are going to be about this and then these are going to be John and Jean Dujardin. You know, really focus on their stuff when you’re with them and not try to make everybody have their own moment in every scene. the scenes between bill Murray and bob balaban seem to have a lot of humor.

gC: Oh yeah, Bill just gives him a hard time constantly and then just keeping them in the same frame is fun too because Bill is 6’3” and Bob’s 5’3”. this film has to balance some laugh-outloud moments with the high drama of war. Was that a challenge? gC: Absolutely. We’re after a drama that has good laughs in it, not a comedy with serious stuff, because it’s hard to get an audience back if you do it that way. Tone is always the secret to a film like this. ARGO was like that in a big way, a lot of big jokes and a lot of serious stuff.

Does this theme of the movie, the legacy of art, touch on your own career in a way – do you see the movies you’re making now as an attempt to create your own legacy? With a big, established cast do you have to ensure there’s enough “good bits” to go around? gC: I think it’s been our way for years now to try and make movies that last beyond an opening weekend, yes. I’m not getting rich off of these movies but they stick around a while. This and UP IN THE AIR, you just go down the list of the things we’ve been doing, THE IDES OF MARCH…we’re doing these because we like telling stories.

We’re not getting loaded off of them – they’re not designed for that. Nothing’s stopping us from doing big movies where they open big and you could make a lot of money. But it’s not really our interest. And when you’re 70 years old and you sit down and they do that dinner for you, do you want them to say, “Oh he had nine films open at number one” or do you want those films to be viewed by someone flipping a channel or a computer 10 years from now saying, “Oh man, I like that movie!” Does it hold up? That’s what matters.

•

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CORE CoMPetItIon

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CORE fILM

FILM REVIEW MIttY > By Rachel Salveta Ben Stiller directs and stars in this year's film adaptation of James Thurber's classic short story 'The Secret Life of Walter Mitty' in which an avid daydreamer finally finds adventure in reality. With Stiller's other directing credits being 'Zoolander', 'Tropic Thunder' and 'The Cable Guy' he is no stranger to success behind the camera and he once again proves his talent with his latest work.

For Walter Mitty, life is a series of daydreams. As he works away at his job at the prestigious magazine 'Life' his days are filled in the wonders of his imagination, much to the amusement of his fellow workers. Finding heroism, romance and mystery within his mind, life just doesn't live up to this. However when an important picture goes missing, it is up to Walter to find it at any cost, leading him to the adventure of a lifetime in which he travels the globe and gets caught up in the biggest adrenaline rush he has ever experienced.

With it's excellent daydream sequences, this movie pulls out all the stops when it comes to the visuals. With its stunning scenery and brilliantly witty moments, Stiller has managed to take this spectacular short story and work wonders with it for the big screen almost as if it was made to be seen.

With Kristen Wig and Sean Penn providing supporting roles, the cast alone make it one to watch.

While Wig gives another excellent performance as the charming co worker that Walter becomes inspired by, Penn plays the less seen but much sought after adventurer with whom they expect the missing picture to be with.

Although the holidays may be over, 'The Secret Life of Walter Mitty' is the perfect escapism to take away those winter blues and with enough action, humour and romance it's got something for everyone.

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CORE fasHIon

name: Hannah gair Hometown: stirling agency: Model team time modelling: 2 years best thing about modelling: getting to meet lots of people and travelling to different places.

Worst thing about modelling: sometimes the industry can be very ďŹ ckle and people aren't you're friends, they are you're competitors. favourite destination: Miami. favourite food: steak. favourite restaurant: the Witchery in edinburgh.

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CORE fasHIon

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CORE FASHION

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CORE fasHIon

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CORE HeaLtH & beautY

SAFETY IN NUMBERS It is the responsibility of health professionals to remain up to date with product safety and injection technique. However, appropriate training is a substantial issue within aesthetic practice. It is therefore essential that when choosing a practitioner, you make sure they have training and experience in this particular area.

Words by Kelly McChord. “Thirty years ago cosmetics were to a doctor what astrology is to astrophysics today!� (Borrelini, 2001)

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chieving a level of personal attractiveness has become a widespread aspiration in some cultures and societies. This has been capitalised by the aesthetic industry and resulted in a massive growth in non-surgical aesthetic procedures. As a result, there has been an influx in medical (doctor, nursing and dental) and non-medical professionals (beauty therapists) into this field of practice.

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tion has also added responsibility for health professionals to remain up to date with product safety and injection technique.

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patients before prescribing non-surgical injectable medicinal products for cosmetic use. The guidance goes on to state that they must not prescribe these medicines by telephone, fax, video-link, or online. The nurse, dentist or doctor MUST therefore have a face to face consultation before delivering the treatment. Customers have to be made aware that Botulinum toxin (BOTOX ®) and some skin treatments are Prescription Only Medications. They would not expect a doctor or nurse to prescribe blood pressure lowering tablets over the phone; so why take risks within aesthetics?

working hard together to achieve professionalism and improve patient safety.

This follows on from the recommendations published in the Department of Health’s Review of the Regulations of Cosmetic Interventions chaired by Professor Sir Bruce Keogh. This review was generated following the PIP breast implant scandal which exposed the cosmetic industry to be highly fragmented and unregulated. Public attitudes may assume legislation but there is, in fact, no law regarding registering as an aesthetic practitioner, regardless of profession. Patients have to be extremely careful when choosing their practitioner.

Practitioners within aesthetics are now

Our advice to you would be to do your research…Fully discuss your proposed treatment with your practitioner first, ask for before and after pictures or even speak to former clients. A successful injector is one who understands the potentials and limitations of their products and skills. The happy patient will be the one who finds that practitioner.

The media also have a very important and powerful influence on patients. It would help, on occasion, if they were more vigilant. Advertisement of non-surgical injectables has become an area of increasing concern; some practitioners openly advertised BOTOX ® despite the illegality of advertising Prescription Only Medications.

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CORE MoneY

MORE FLEXIBILITY AT RETIREMENT ABOUT TIME! Financial advice with Tom Munro

S

teve Webb, the pension’s minister’s recent announcement he wants pensioners to be able to switch to better annuities regularly in the same way that home owners can change their mortgage deals every few years in my view is long overdue. This proposal would end the current “lottery” in which many pensioners are trapped in potentially poorvalue schemes until they die. In his blueprint for an overhaul of the private pension system, the proposal is to allow individuals trapped in poor value annuities to transfer their arrangement elsewhere and obtain better value.

Currently, the majority of people are forced to use their pension pot at retirement to buy an annuity paying an annual income for the rest of their lives. For many people, it is the biggest financial decision they will make. In recent years annuity rates have plunged, trapping many people in poor-value schemes that have ruined the value of their lifetime savings. The ability to switch annuities after retirement would trigger a revolution for savers and kick-start an industry catering for people who are shopping around to boost the value of their pension.

is irrevocable and if annuity rates, which are mainly influenced by interest rates and gilt yields are low, the retiree is locking into those rates for life which is the situation we have at present, so those retiring today are not getting a fair deal. Ending this ‘lottery’ at retirement would be welcome and is something the product providers out there can easily accommodate and more flexibility would undoubtedly result in more saving into pension plans in future, something the government are always trying to encourage.

I will keep readers informed of this important announcement in future issues and for those looking for useful guides on annuities, you will find them at www.tommunro.co.uk Finally, always remember to shop around for your annuity and never fall into the trap of accepting the derisory rates offered through the provider of you pension plan as nine-times-out-often your adviser can secure a higher income using the open market option entitlement.

See you next month.

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720208

27 Main Street, The Village, Cumbernauld, G67 2RR 01236 720208 All major credit cards eccepted

www.kwikkars.co.uk