Latest news with #WithOrWithoutYou
Metro
24-06-2025
- Entertainment
- Metro
U2's The Edge, 63, becomes Irish citizen after 62 years
A member of U2 has finally become an Irish citizen 62 years after moving there. One of the best-selling bands in the world, U2 was formed in 1976 while the members were attending Mount Temple Comprehensive School in Dublin. The line-up comprises frontman Bono, guitarist the Edge, bassists Adam Clayton and drummer Larry Mullen Jr. The group – whose biggest hits have included singles like Sunday Bloody Sunday, With Or Without You and Beautiful Day – quickly became known for their politically and socially minded Irish anthems, as well as their activism off the stage. Despite being one of Ireland's most successful bands globally, it turns out the Edge (real name David Howell Evans) wasn't actually a citizen. But this week the musician confirmed he'd finally got around to applying to officially become Irish. The Edge, 63, was born in Barkin, Essex, the second child of Welsh parents Garvin and Gwenda Evans. Soon after Evans was born his father, who was an engineer, was offered a promotion which took the family to Dublin. Now, after 62 years living in Ireland, Evans has been granted Irish citizenship. 'I'm a little tardy with the paperwork,' he told reporters after a ceremony in Killarney, County Kerry on Monday. 'I've been living in Ireland now since I was one year old. But the time is right. And I couldn't be more proud of my country for all that it represents and all that it is doing.' Despite living in Ireland for most of his life, Evans explained why it took him so long to apply for citizenship. 'Honestly, there were many moments in the past when I could have done it with just the form to be filled out, but I'm happy it's now. It feels more significant and meaningful,' he said. Alana Anderson, Metro's Deputy Entertainment Editor: 'Like thousands of others, I applied for my Irish citizenship shortly after Brexit, so expected a long wait for my new passport to arrive. The process was slightly grueling, having never met my Irish grandfather, who died before I was born, digging out the birth and marriage certificates I needed for the foreign birth register was tedious to say the least. Due to my dual citizenship with Canada, my application was also frozen until I provided even more information about my previous immigration status. I feel incredibly fortunate to now have my citizenship, but the admin involved is a task in itself. I would highly recommend having your documents in order before starting the application for a smoother experience!' Pierra Willix, Senior Entertainment Reporter: 'I was lucky enough to be able to apply for citizenship for several different European countries through my grandparents, but with the Irish passport now being the strongest in the world, it was the obvious choice (and it was one of the countries I felt the closest connection with). After some of my cousins had a fairly straightforward (and quick) experience applying to get onto the Foreign Birth Registry and getting their passport soon after that, I had a more difficult time, mainly due to applying post-Brexit and then having my application repeatedly delayed during the pandemic. Despite having to wait much longer than anticipated, I am extremely grateful to now hold Irish citizenship, which has enabled me to move from Australia to the UK without any worries about visas.' Wearing an Irish tricolour clip, Evans also swore an oath of loyalty and fidelity to the Irish state with hundreds of other newly created citizens at the ceremony. 'I have always felt Irish. Ireland will always be home to me, and I'm so grateful for that,' he shared. 'It couldn't come at a better moment for me, so I am just so happy to be at this point to be in even deeper connection with my homeland.' Evans has previously spoken about using two different accents when growing up in the Irish capital. More Trending At home he would use a Welsh accent, while he'd use an Irish one when outside. 'The reason for this dual identity was mainly to be understood by my peers but also to be accepted,' he once explained. Over the years U2 has spoken out on issues including the shooting of unarmed protesters in Londonderry in 1972 by British soldiers with their 1983 song Sunday Bloody Sunday. They also threw their support behind efforts to secure peace in Northern Ireland with the Belfast/Good Friday Agreement in 1998. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Bad Company star Mick Ralphs dies aged 81 as bandmates pay tribute MORE: All the rumoured secret sets at Glastonbury 2025 from Pulp to Lewis Capaldi MORE: Surfing on the north coast of Ireland, I learned an important life lesson
Dublin Live
03-06-2025
- 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
02-06-2025
- 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.
