Bono

Oh, yeah.

Oh, yeah.

Oh, yeah.

He seems like it. I don't know him, but he seems like a real sweetheart.

He seems like it. I don't know him, but he seems like a real sweetheart.

He seems like it. I don't know him, but he seems like a real sweetheart.

I think the problem is that only the people that can truly do it understand it. Right. That's the problem. You know, the problem. And then what you're talking about, confinement for the talk show format, that's also what makes that moment so much greater. It's the pop star. Yes. It's just... It doesn't belong there.

I think the problem is that only the people that can truly do it understand it. Right. That's the problem. You know, the problem. And then what you're talking about, confinement for the talk show format, that's also what makes that moment so much greater. It's the pop star. Yes. It's just... It doesn't belong there.

I think the problem is that only the people that can truly do it understand it. Right. That's the problem. You know, the problem. And then what you're talking about, confinement for the talk show format, that's also what makes that moment so much greater. It's the pop star. Yes. It's just... It doesn't belong there.

That format is for hollow platitudes and selling a new television show and getting in and out before the seven-minute commercial break. It's the worst way to have a conversation where you're going to get the most out of people. Because when you have time constraints on conversations, you immediately feel under the gun. So you're kind of like... tense and you're pressured and you don't know when.

That format is for hollow platitudes and selling a new television show and getting in and out before the seven-minute commercial break. It's the worst way to have a conversation where you're going to get the most out of people. Because when you have time constraints on conversations, you immediately feel under the gun. So you're kind of like... tense and you're pressured and you don't know when.

That format is for hollow platitudes and selling a new television show and getting in and out before the seven-minute commercial break. It's the worst way to have a conversation where you're going to get the most out of people. Because when you have time constraints on conversations, you immediately feel under the gun. So you're kind of like... tense and you're pressured and you don't know when.

And then the audience is staring at you and then there's bright lights. Everything is wrong. Everything is opposed to the way normal, comfortable human conversation and connection works. It works with silence around you and just people talking or in a pub or wherever you're at, in a living room with friends at a party. That's the real human connection where it's open-ended and you're just talking.

And then the audience is staring at you and then there's bright lights. Everything is wrong. Everything is opposed to the way normal, comfortable human conversation and connection works. It works with silence around you and just people talking or in a pub or wherever you're at, in a living room with friends at a party. That's the real human connection where it's open-ended and you're just talking.

And then the audience is staring at you and then there's bright lights. Everything is wrong. Everything is opposed to the way normal, comfortable human conversation and connection works. It works with silence around you and just people talking or in a pub or wherever you're at, in a living room with friends at a party. That's the real human connection where it's open-ended and you're just talking.

As soon as you lock it down, and then you have to lock it down for commercials, and you have to button this up, and there's a new person coming in in five minutes, so they've got to shuffle you out the door and hold up your album and tell everybody to buy it, and then you leave. I'm like, was that good? I guess it was good. You know what I mean? I never liked doing them.

As soon as you lock it down, and then you have to lock it down for commercials, and you have to button this up, and there's a new person coming in in five minutes, so they've got to shuffle you out the door and hold up your album and tell everybody to buy it, and then you leave. I'm like, was that good? I guess it was good. You know what I mean? I never liked doing them.

As soon as you lock it down, and then you have to lock it down for commercials, and you have to button this up, and there's a new person coming in in five minutes, so they've got to shuffle you out the door and hold up your album and tell everybody to buy it, and then you leave. I'm like, was that good? I guess it was good. You know what I mean? I never liked doing them.

I always felt confined, and I would never do stand-up on them. I was always asked to do stand-up on them. That's not where stand-up belongs. Right? But if someone can pull it off, like there's been great comedians that pulled off incredible Tonight Show sets, like Richard Jenny and George Carlin.

I always felt confined, and I would never do stand-up on them. I was always asked to do stand-up on them. That's not where stand-up belongs. Right? But if someone can pull it off, like there's been great comedians that pulled off incredible Tonight Show sets, like Richard Jenny and George Carlin.