Latest news with #WithOrWithoutYou
Dublin Live
a day ago
- Entertainment
- Dublin Live
Bono opens up on U2 member who has final say on band's music
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info U2 frontman Bono has described the band as a "democracy". The 65-year-old rocker explained how the iconic group – which also comprises The Edge, Adam Clayton and Larry Mullen Jr – all chip in with ideas for new music. However, the Beautiful Day singer added that it is usually the lead guitarist's suggestions that are given preference. Asked how U2 work after more than 40 years in the industry, Bono said: "Bloody democracy. Thom Yorke from Radiohead says, 'A band is like the United Nations, except I'm America'. But U2 is an actual democracy. We all listen to each other, and then do what Edge says." Bono takes centre stage in the new Apple TV+ documentary film Stories Of Surrender which documents a one-man performance he gave in New York in 2023 – although he doubts that his U2 bandmates are that interested in the project. He said: "I think Larry only likes Westerns, Adam said he liked the moonwalk, so I think perhaps he was looking at a different film. Edge is always there. He's so supportive, especially when he sees me be open or be vulnerable, which is our definition of art." The Dubliner describes the film as "very intimate" and revealed that he took inspiration from the late Beatles icon John Lennon for the project. Father-of-four Bono explained: "It was always, 'Break open the ribcage, show what's the heart, let it bleed'. That was the John Lennon way. So it starts with heart surgery." Meanwhile, the singer recently teased that he wants U2 to make "the sound of the future" on their next album. The With Or Without You artist said on Jimmy Kimmel! Live: "We've been in the studio and you've sometimes got to deal with the past to get to the present, in order to make the sound of the future. That's what we want to do." Bono also insisted that U2 continue to be very ambitious despite their long and successful career in music. He said: "It's the sound of four men, who feel like their lives depend on it. I remind them, they do. "Nobody needs a new U2 album unless it's an extraordinary one. I'm feeling very strong about it." Join our Dublin Live breaking news service on WhatsApp. Click this link to receive your daily dose of Dublin Live content. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. If you're curious, you can read our Privacy Notice. For all the latest news from Dublin and surrounding areas visit our homepage.
Irish Daily Mirror
3 days ago
- Entertainment
- Irish Daily Mirror
U2 is true democracy, says Bono
U2 frontman Bono has described the band as a 'democracy'. The 65-year-old rocker explained how the iconic group – which also comprises The Edge, Adam Clayton and Larry Mullen Jr – all chip in with ideas for new music. However, the Beautiful Day singer added that it is usually the lead guitarist's suggestions that are given preference. Asked how U2 work after more than 40 years in the industry, Bono said: 'Bloody democracy. Thom Yorke from Radiohead says, 'A band is like the United Nations, except I'm America'. 'But U2 is an actual democracy. We all listen to each other, and then do what Edge says.' Bono takes centre stage in the new Apple TV+ documentary film Stories Of Surrender which documents a one-man performance he gave in New York in 2023 – although he doubts that his U2 bandmates are that interested in the project. He said: 'I think Larry only likes Westerns, Adam said he liked the moonwalk, so I think perhaps he was looking at a different film. Edge is always there. He's so supportive, especially when he sees me be open or be vulnerable, which is our definition of art.' The Dubliner describes the film as 'very intimate' and revealed that he took inspiration from the late Beatles icon John Lennon for the project. Father-of-four Bono explained: 'It was always, 'Break open the ribcage, show what's the heart, let it bleed'. 'That was the John Lennon way. So it starts with heart surgery.' Meanwhile, the singer recently teased that he wants U2 to make 'the sound of the future' on their next album. The With Or Without You artist said on Jimmy Kimmel! Live: 'We've been in the studio and you've sometimes got to deal with the past to get to the present, in order to make the sound of the future. That's what we want to do.' Bono also insisted that U2 continue to be very ambitious despite their long and successful career in music. He said: 'It's the sound of four men, who feel like their lives depend on it. I remind them, they do. 'Nobody needs a new U2 album unless it's an extraordinary one. I'm feeling very strong about it.'
ABC News
09-05-2025
- Entertainment
- ABC News
Donald Trump's film tariff threat is a chance to invest in Australian content
The headline screamed "Don't Fear the Donald", accompanied by an elegant portrait of actor and producer Marta Dusseldorp in a red suit and smiling with a preternaturally reassuring lack of concern. She seemed so unfussed for someone at the centre of a new global trade war that I almost smiled with her. Dusseldorp was promoting her new film With or Without You and, upon being asked by a Sydney newspaper about the US president's shock announcement of 100 per cent tariffs on any film made outside the US, she rebuffed the clamour of anxiety that had met the news. "There have been a lot of announcements that come out of America and not all of them come true," she said. "If we stay authentic the world will keep listening." She's probably right, as is every other Australian and even American filmmaker who greeted the news with horror, then bewilderment then resignation as they sequentially realised the near impossibility of imposing this thought bubble on an industry so internationally linked and interdependent that there's probably not a single Hollywood blockbuster of the last 10 years that can claim to be 100 per cent Made in the USA. You need only watch any movie to the end of its credits to see the offshore animation units in Korea, the location shoots in Queensland or the generous concessions made by Ontario, Canada to realise that even if American filmmakers want to boost local production, this isn't the way they would want to do it. Cheaper labour costs, competitive exchange rates and local incentives, such as Australia's 30 per cent location offset have made Hollywood a global industry, and not only to their benefit, but to that of the territories that get to boost their talent and skill base and see hundreds of locals employed. The idea was the brainchild of actor and Trump-appointed Special Ambassador to Hollywood, Jon Voight, and his manager, and was suggested during a meeting last weekend, which is how policy is now made in the US. Voight went on to explain and justify an announcement that infuriated his Hollywood colleagues, saying that his proposal included tariffs "only in certain limited circumstances", alongside broader incentives such as tax credits. But I'm not sure that's going to be enough to get back on Tom Cruise's Christmas coconut cake list: there's barely one Mission Impossible that wasn't filmed somewhere outside the US. I've just spent the week at Screen Forever, the annual conference for makers of screen content in Australia, including the ABC, other broadcasters, independent producers, writers and directors, which was almost completely upended by Donald Trump's news, until the same sangfroid as Dusseldorp's began to steal over the meeting. The Canadian delegation just shrugged: more disruption from a president who saw bomb-throwing as the opening gambit for any negotiation, and they would know. The Canadian-US border is the most industrially porous one of any joined territory, with roughly 20 per cent of all American films either shot there or using Canadian production services, making it the most popular non-US location for American films. The Canadians at the conference, including president and chief executive of the Canada Media Fund, Valerie Creighton, know how connected the countries are through the film industry, and the advantages the US players reap. US filmmakers would not be happy. It's significantly cheaper shooting in Canada than it is in LA or New York, and regions like Ontario have built a film industry out of offering that support. Here in Australia, the Gold Coast, Sydney — and to a lesser extent Victoria — have done the same. The managing director of the ABC, Hugh Marks, was equally phlegmatic and like Dusseldorp saw a potential upside to the announcement: a chance to concentrate on developing Australian IP and investing in Australian films rather than just being a service-provider for US interests. That of course requires much more local investment — privately and from government — but the return on investment would be exponential. So perhaps the lesson from this week's Trump calamity is that sovereign interest can work both ways, and if the newly re-elected Albanese government is serious about Australian culture and production, then Trump could be inadvertently showing the way to ensuring it. This weekend, fashion now at the Met Gala, and fashion then, with the secret life of the potato farmer, Marie Antoinette. Have a safe and happy weekend and remember: it might not be true in every case, but it's quite possible that for the mum in your life the perfect Mother's Day is a pot of tea, a book (or TV remote) and a locked door, with you on the other side. Allow for the possibility. And play her this too… once she comes out. Go well. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.
The Advertiser
09-05-2025
- Entertainment
- The Advertiser
Marta Dusseldorp unravels on a road trip of emotional truths
With Or Without You M, 114 minutes 3 stars This debut feature from Australian writer-director Kelly Schilling is frustrating. There are times it's achingly real and poignant and other times when things seem slapped together for the sake of storytelling convenience rather than stemming plausibly from the characters and situations. But the strengths - the acting and atmosphere and some well-drawn character moments - help make up for the less convincing parts. Chloe (Melina Vidler, whose credits include 800 Words) didn't have the happiest of upbringings. She is the only child of Sharon (Marta Dusseldorp from A Place to Call Home), who had a string of unsuccessful relationships and is addicted to alcohol, much to the despair of her longsuffering sister Pat (Celine O'Leary), who bears the burden along with Chloe. But Chloe also has a more immediate and dangerous problem. She's fled from an abusive partner who is stalking her and who incinerates her caravan, in which she had secreted her life savings to fund her escape. Despite the loss, Chloe is determined to make a new life for herself and for her mother, whom she wants to help get sober. With the aid of a publican mate, Chloe gets a car, and lines up a job on the property of one of her mother's exes. It's the set-up for a mother-daughter road trip, but there's someone else along for the ride. Waiting for a late-night bus, Chloe met Dalu (Albert Mwangi from Bump). They got to chatting and he ended up cooking dinner - plantains - in her caravan before it was torched. There's enough time put into this part of the story to make it work - while Chloe was wary, the two of them talked for a while and Dalu seemed nice enough. With the violent ex lurking about it didn't hurt to have someone accompany her home. Dalu is apparently on a student visa and expecting money from home but he's hoping to earn a bit of cash. Although things get a little testy at times (Dalu is proud and Chloe and her mother aren't always tactful) they set off. Sharon's insistence on taking "the scenic route" through the bush rather than the highway leads to the first of many setbacks. I mentioned that some elements seemed slapped together. Not once, but twice, Sharon stays behind with men she's barely met - a lonely middle-aged widower who comes to their rescue and a younger publican at one of their stops - as if they're going to be partners. Granted, she can be charming, but it beggars belief that this would happen so fast. If the film were more of a comedy, it would be easier to suspend disbelief, but it's just jarring, and it takes some time before mother and daughter are, inevitably, reunited. At least the scenarios are different. There's one positive thing to say about both these encounters before they take a turn for the implausible: they illustrate, as Blanche DuBois put it, the kindness of strangers. Sometimes it's easier, maybe even more gratifying, to help people you don't know than people you do. It's a strong thread that runs through the film. One thing the mother-daughter separations do is give some space for the relationship between Chloe and Dalu to develop. This isn't a rom com so we're not talking about witty banter and playfulness: what we have are a woman who's been hurt but might be open to love and a man who's charming but whose motives are not altogether clear. Schilling and her team capture a particular Australian milieu effectively, a world of caravans and cheap motels and country pubs and hospitals that feels lived in and real. The actors - especially the central trio - are all excellent and my reservations might not be shared by everyone. With Or Without You is certainly worth seeing. With Or Without You M, 114 minutes 3 stars This debut feature from Australian writer-director Kelly Schilling is frustrating. There are times it's achingly real and poignant and other times when things seem slapped together for the sake of storytelling convenience rather than stemming plausibly from the characters and situations. But the strengths - the acting and atmosphere and some well-drawn character moments - help make up for the less convincing parts. Chloe (Melina Vidler, whose credits include 800 Words) didn't have the happiest of upbringings. She is the only child of Sharon (Marta Dusseldorp from A Place to Call Home), who had a string of unsuccessful relationships and is addicted to alcohol, much to the despair of her longsuffering sister Pat (Celine O'Leary), who bears the burden along with Chloe. But Chloe also has a more immediate and dangerous problem. She's fled from an abusive partner who is stalking her and who incinerates her caravan, in which she had secreted her life savings to fund her escape. Despite the loss, Chloe is determined to make a new life for herself and for her mother, whom she wants to help get sober. With the aid of a publican mate, Chloe gets a car, and lines up a job on the property of one of her mother's exes. It's the set-up for a mother-daughter road trip, but there's someone else along for the ride. Waiting for a late-night bus, Chloe met Dalu (Albert Mwangi from Bump). They got to chatting and he ended up cooking dinner - plantains - in her caravan before it was torched. There's enough time put into this part of the story to make it work - while Chloe was wary, the two of them talked for a while and Dalu seemed nice enough. With the violent ex lurking about it didn't hurt to have someone accompany her home. Dalu is apparently on a student visa and expecting money from home but he's hoping to earn a bit of cash. Although things get a little testy at times (Dalu is proud and Chloe and her mother aren't always tactful) they set off. Sharon's insistence on taking "the scenic route" through the bush rather than the highway leads to the first of many setbacks. I mentioned that some elements seemed slapped together. Not once, but twice, Sharon stays behind with men she's barely met - a lonely middle-aged widower who comes to their rescue and a younger publican at one of their stops - as if they're going to be partners. Granted, she can be charming, but it beggars belief that this would happen so fast. If the film were more of a comedy, it would be easier to suspend disbelief, but it's just jarring, and it takes some time before mother and daughter are, inevitably, reunited. At least the scenarios are different. There's one positive thing to say about both these encounters before they take a turn for the implausible: they illustrate, as Blanche DuBois put it, the kindness of strangers. Sometimes it's easier, maybe even more gratifying, to help people you don't know than people you do. It's a strong thread that runs through the film. One thing the mother-daughter separations do is give some space for the relationship between Chloe and Dalu to develop. This isn't a rom com so we're not talking about witty banter and playfulness: what we have are a woman who's been hurt but might be open to love and a man who's charming but whose motives are not altogether clear. Schilling and her team capture a particular Australian milieu effectively, a world of caravans and cheap motels and country pubs and hospitals that feels lived in and real. The actors - especially the central trio - are all excellent and my reservations might not be shared by everyone. With Or Without You is certainly worth seeing. With Or Without You M, 114 minutes 3 stars This debut feature from Australian writer-director Kelly Schilling is frustrating. There are times it's achingly real and poignant and other times when things seem slapped together for the sake of storytelling convenience rather than stemming plausibly from the characters and situations. But the strengths - the acting and atmosphere and some well-drawn character moments - help make up for the less convincing parts. Chloe (Melina Vidler, whose credits include 800 Words) didn't have the happiest of upbringings. She is the only child of Sharon (Marta Dusseldorp from A Place to Call Home), who had a string of unsuccessful relationships and is addicted to alcohol, much to the despair of her longsuffering sister Pat (Celine O'Leary), who bears the burden along with Chloe. But Chloe also has a more immediate and dangerous problem. She's fled from an abusive partner who is stalking her and who incinerates her caravan, in which she had secreted her life savings to fund her escape. Despite the loss, Chloe is determined to make a new life for herself and for her mother, whom she wants to help get sober. With the aid of a publican mate, Chloe gets a car, and lines up a job on the property of one of her mother's exes. It's the set-up for a mother-daughter road trip, but there's someone else along for the ride. Waiting for a late-night bus, Chloe met Dalu (Albert Mwangi from Bump). They got to chatting and he ended up cooking dinner - plantains - in her caravan before it was torched. There's enough time put into this part of the story to make it work - while Chloe was wary, the two of them talked for a while and Dalu seemed nice enough. With the violent ex lurking about it didn't hurt to have someone accompany her home. Dalu is apparently on a student visa and expecting money from home but he's hoping to earn a bit of cash. Although things get a little testy at times (Dalu is proud and Chloe and her mother aren't always tactful) they set off. Sharon's insistence on taking "the scenic route" through the bush rather than the highway leads to the first of many setbacks. I mentioned that some elements seemed slapped together. Not once, but twice, Sharon stays behind with men she's barely met - a lonely middle-aged widower who comes to their rescue and a younger publican at one of their stops - as if they're going to be partners. Granted, she can be charming, but it beggars belief that this would happen so fast. If the film were more of a comedy, it would be easier to suspend disbelief, but it's just jarring, and it takes some time before mother and daughter are, inevitably, reunited. At least the scenarios are different. There's one positive thing to say about both these encounters before they take a turn for the implausible: they illustrate, as Blanche DuBois put it, the kindness of strangers. Sometimes it's easier, maybe even more gratifying, to help people you don't know than people you do. It's a strong thread that runs through the film. One thing the mother-daughter separations do is give some space for the relationship between Chloe and Dalu to develop. This isn't a rom com so we're not talking about witty banter and playfulness: what we have are a woman who's been hurt but might be open to love and a man who's charming but whose motives are not altogether clear. Schilling and her team capture a particular Australian milieu effectively, a world of caravans and cheap motels and country pubs and hospitals that feels lived in and real. The actors - especially the central trio - are all excellent and my reservations might not be shared by everyone. With Or Without You is certainly worth seeing. With Or Without You M, 114 minutes 3 stars This debut feature from Australian writer-director Kelly Schilling is frustrating. There are times it's achingly real and poignant and other times when things seem slapped together for the sake of storytelling convenience rather than stemming plausibly from the characters and situations. But the strengths - the acting and atmosphere and some well-drawn character moments - help make up for the less convincing parts. Chloe (Melina Vidler, whose credits include 800 Words) didn't have the happiest of upbringings. She is the only child of Sharon (Marta Dusseldorp from A Place to Call Home), who had a string of unsuccessful relationships and is addicted to alcohol, much to the despair of her longsuffering sister Pat (Celine O'Leary), who bears the burden along with Chloe. But Chloe also has a more immediate and dangerous problem. She's fled from an abusive partner who is stalking her and who incinerates her caravan, in which she had secreted her life savings to fund her escape. Despite the loss, Chloe is determined to make a new life for herself and for her mother, whom she wants to help get sober. With the aid of a publican mate, Chloe gets a car, and lines up a job on the property of one of her mother's exes. It's the set-up for a mother-daughter road trip, but there's someone else along for the ride. Waiting for a late-night bus, Chloe met Dalu (Albert Mwangi from Bump). They got to chatting and he ended up cooking dinner - plantains - in her caravan before it was torched. There's enough time put into this part of the story to make it work - while Chloe was wary, the two of them talked for a while and Dalu seemed nice enough. With the violent ex lurking about it didn't hurt to have someone accompany her home. Dalu is apparently on a student visa and expecting money from home but he's hoping to earn a bit of cash. Although things get a little testy at times (Dalu is proud and Chloe and her mother aren't always tactful) they set off. Sharon's insistence on taking "the scenic route" through the bush rather than the highway leads to the first of many setbacks. I mentioned that some elements seemed slapped together. Not once, but twice, Sharon stays behind with men she's barely met - a lonely middle-aged widower who comes to their rescue and a younger publican at one of their stops - as if they're going to be partners. Granted, she can be charming, but it beggars belief that this would happen so fast. If the film were more of a comedy, it would be easier to suspend disbelief, but it's just jarring, and it takes some time before mother and daughter are, inevitably, reunited. At least the scenarios are different. There's one positive thing to say about both these encounters before they take a turn for the implausible: they illustrate, as Blanche DuBois put it, the kindness of strangers. Sometimes it's easier, maybe even more gratifying, to help people you don't know than people you do. It's a strong thread that runs through the film. One thing the mother-daughter separations do is give some space for the relationship between Chloe and Dalu to develop. This isn't a rom com so we're not talking about witty banter and playfulness: what we have are a woman who's been hurt but might be open to love and a man who's charming but whose motives are not altogether clear. Schilling and her team capture a particular Australian milieu effectively, a world of caravans and cheap motels and country pubs and hospitals that feels lived in and real. The actors - especially the central trio - are all excellent and my reservations might not be shared by everyone. With Or Without You is certainly worth seeing.
Irish Independent
30-04-2025
- Entertainment
- Irish Independent
U2 frontman Bono releases trailer for new film Bono: Stories Of Surrender
Bono: Stories Of Surrender is based on his memoir, Surrender: 40 Songs, One Story, and the accompanying book and theatre tour. The Irish singer, whose band is known for songs including Beautiful Day and With Or Without You, performs in front of a lively crowd. In the black and white video the musician, whose real name is Paul David Hewson, says: 'Something to know about performers in pursuit of truth, we are capable of more untruth than most.' The film includes footage from his Beacon Theatre shows in New York and shows him performing the U2 songs that shaped his career. 'Turns out, the most extraordinary thing about my life is the people I'm in relationships with. I met my wife Ali the same week I joined U2,' he says. Bono also speaks about craving his father's attention and the last time he saw his mother alive. 'This is my story. I'm stuck with it,' he says. U2 formed in the late 1970s and comprises Bono, guitarist The Edge, bass player Adam Clayton and drummer Larry Mullen Jr. They have had seven number one singles in the UK chart with tracks including Desire, Discotheque and Vertigo. Bono is also known for his activism and philanthropic work and was awarded the US Presidential Medal of Freedom in January, which is given for 'exemplary contributions to the prosperity, values or security of the United States, world peace, or other significant societal, public or private endeavours'. Bono: Stories Of Surrender will premiere globally on May 30 on Apple TV+.
