Better Than the Real Thing
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Bono: "Having fun, playing cool music and changing the world! I was already 16! I tried to play U2 songs and I haven't stopped until today! I like the sound and production quality of this album very much. Of course I love the other eras nearly as same, too, but the Achtung Baby and the following Zoo TV tour was musically really the best they've ever done. The shows were such enormous and the Achtung Baby songs fitted perfectly to the atmosphere of these concerts. Bono: "Killing each other! It's always an endless discussion before concerts.
Then we discuss it and think about if they are worth a try. Of course, we keep in mind that we are not the real U2 and that the most of our audience might be bored if we play, for example, "Twilight. But on our gigs two or three insider songs might bore the audience so that some of them quickly leave! So the setlist is always a long discussion!
We decide by majority which songs we play. How do you combat these difficulties? Bono: "Sorry, I have no sound problems. Ask the Edge for it!!
We spend a lot of time in creating backing tapes with synthezisers and similar things. Of course I'm personally spending a lot of money for my guitar equipment -- I've already been named the idiot of the band because of this fact, because I have to spend the most money for equipment. And I'm still mostly never satisfied with the sounds even if everyone says that it sounds great. If I need a specific unit for getting only one unique sound I buy it if I can afford it!
For example the real Edge uses lots of equipment in his guitar rack only for seconds during a two hour performance. I do it in a same way.
Even Better Than the Real Thing (Live from Paris)
But mostly the huge problem for us as the 'copy' is that the local technicians at the venue are not qualified enough to get the maximum out of their PA rig. Not every new song needs a new sound! I'm not the person who looks very exactly to the specific sounds. I'm more the guy who looks on the correct play. Bono: "As often as there is need of the best U2 Tribute Band. We come whenever they call. The venues are very various: club to hall -- without stadium. But these shows are played from small clubs which fill people to larger festivals which have an audience up to 5, people.
Bono: "All the good ones, which make the crowd getting noisy. We all love 'Elevation' and 'Mofo' because both sound so dirty and cool!
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Bono: "Never! Bono: "Well, sometimes it seems so, but most of the time we're a big family having the same parents. There are many U2 tribute bands, but only a few a really good! Some have a good Bono, some have a good Larry. Other ones are musically quite impressive, but they don't behave professional! Then there are some who are professional but they are musically not their money worth.
We think we should be good in all divisions to give our audience the best atmosphere they can get! Bono: "The drinks you get after a good show In fact, that's one of the things what you're dreaming about when you start playing music, don't you? I declare myself an English major.
Even Better Than the Real Thing - Wikipedia
I go to graduate school. I become o luck! How does an under three-hour film made from a roughly page novel manage to follow the plot to the letter and feel more languorous than the source material? I have no idea, but the pace is just right for a romance that burns at the near-static speed and volcanic temperature of one of those prehistoric underground coal seam fires.
Newland and May marry, but he and Ellen, fleeing her own horrible spouse, nurse a painfully chaste mutual fixation. The kicker is that Newland and Ellen are the only people worried about whether their sex is real or sublimated. They alone have mistaken the morality preached by their peers for something other than superficial convention. Speed all this up and you risk bathos.
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Let it smolder and it has all the comic poignancy of mortality. Instead, Woodward convinces you that she is Wharton, and that Wharton sounds like a well-aged Hollywood screen star from Georgia. The effect is both intimate and overwhelming, and paired with mobile cinematography that pans over opera boxes, multi-course feasts, and painting-stuffed walls, it makes the viewer feel less like a voyeur than a privileged tourist.
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Even the casting amplifies meanings already present in the novel. With Daniel Day-Lewis as Newland, Michelle Pfeiffer as Ellen, and Winona Ryder as May, three stunning actors having very different kinds of moments are improbably brought together so that the unique conditions of their fame refract onto their characters. In Day-Lewis was the epitome of serious method acting, having won everything for his performance in My Left Foot. Seeing these three together on screen feels odd but it works.