What is the significance of the song 'Ballad of a Thin Man' to Timothy Chalamet?

It's a live version featured in a Scorsese documentary that Timothy Chalamet found particularly influential.

How has Timothy Chalamet been influenced by Bob Dylan?

By immersing himself deeply into Bob Dylan's music and thoughts, embracing lessons on artistic integrity and expression.

How did Timothy Chalamet approach portraying Bob Dylan?

He aimed to capture the essence and spirit of Dylan rather than his precise mannerisms.

What role did the theater space play in Chalamet's acting career?

He found the environment creatively enriching and it helped him develop his acting prowess.

Why does Chalamet consider his role as Bob Dylan particularly special?

It was a crucial opportunity for him to interpret a legendary musician's formative years.

Timothée Chalamet: Becoming Bob Dylan | Apple Music

00:51:06

https://www.youtube.com/watch?v=-6RGcPQuzog

Resumen

TLDRIn this introspective dialogue, Timothy Chalamet reflects on his profound journey in portraying Bob Dylan. He describes how immersing himself in Dylan's music, especially the live rendition of 'Ballad of a Thin Man,' gave him insights into the enigmatic icon. Chalamet discusses the transformative nature of his acting approach, emphasizing the importance of capturing the spirit rather than the exact mimicry of Dylan. He also shares his connection to the theatrical space that shaped his acting skills. Chalamet's role as Dylan allows him to bridge his own artistic growth with Dylan's genius, creating a unique interpretation that honors the musician's indelible impact on culture. Through exploring Dylan's life and era, Chalamet embarks on a personal journey that reshapes his artistic vision.

Para llevar

🎵 Timothy Chalamet is deeply inspired by Bob Dylan.
🎭 The theater played a critical role in Chalamet's development.
🕰️ Exploring Dylan's era offered insights into cultural change.
🎤 Capturing Dylan’s spirit was more important than imitation.
🎥 Chalamet views his role as Bob Dylan as momentous.
🎶 Music is central to Chalamet’s interpretation of Dylan.
📍 Dylan's influence helped refine Chalamet's acting approach.
🌍 The project connected historical context to modern culture.
✊ Embracing artistic challenges is core to Chalamet's craft.
🔄 Chalamet's understanding of Dylan reshaped his artistic vision.

Cronología

00:00:00 - 00:05:00
Ho qala ka thabo ea tlhaho ka 'Ballad of a Thin Man', tlhaloso e phelang e 'Scorsese doc', ho kena 'Bob Dylan's world'. Mohale o bonahala a tataisoa ke boiphihlelo boo a bo fumaneng ka ho sebetsa le 'Bob'.
00:05:00 - 00:10:00
Molao o mong le o mong o etselitsoe ho utloisisa bohloko boo 'Bob Dylan' a bo fetileng. James o hopola hore o hloka mokhoa oa bophelo bo botle le qalo e ncha, 'the guiding light' e kentseng morao.
00:10:00 - 00:15:00
Sebaka sa Manhattan Theatre Club se emela 'legacy' ea moo moetsi enoa a tsoang teng. Ho qala ka 'theatre career', ho ba le kholiseho ho fanoeng ke bopaki ba moetsi.
00:15:00 - 00:20:00
Ho etella pele ka maikutlo a bopaki ba 'Timothee Chalamet' e le 'Bob Dylan'. Keresimesi e akaretsa 'pops culture' empa e hloka ho bōptjoa ho fihlela 'the perfect balance'.
00:20:00 - 00:25:00
Mahlakore a mabeli a Timothee Chalamet e le moetsi oa filimi le sebapali se seholo. Koranta e etsa hore ho be le kholiseho bakeng sa ho utloisisa litemoso tsa mofuta.
00:25:00 - 00:30:00
Molao o laolang khatiso, ho ithuta lintlha tsa mantlha tsa ho etsa 'music biopic' ka boemo bo phahameng bo sa tloaelehang. 'Live performance' e bonahala e le tsona tse bohlokoa ka ho fetisisa.
00:30:00 - 00:35:00
Mohale a ka sebelisanoang le liketsahalo tsa 'Bob Dylan' ka mahlakore a mabeli a botšepehi le mahlahahlaha a sechaba se tebileng. Litsela tsa 'Bob' tsa bophelo li etsa hore 'journey' e be thata.
00:35:00 - 00:40:00
Karolo ea filimi ka lipale tse amanang le '1961-1965', moo motsamao oa Bob Dylan o ileng oa nyoloha. Teko ea ho bontša lefatše la boikarabelo ba mophetwa e ntse e tsoela pele.
00:40:00 - 00:45:00
Bob e le sebini sa 'rock and roll star' se ileng sa fetola sechaba. Ho phahamisa lintho tsa bohloa, boitsebahatso bo bopa karolo ya filimi.
00:45:00 - 00:51:06
Boithuto bo tebileng ba Bob Dylan le phapang ea bopaki ba lipale, mokgwa o ikgethile. Seabo sa bopaki ba moo o ileng a tloha le ho khutla, ka lehlakoreng la maikutlo a maholo a tsamaiso.

Mapa mental

Preguntas frecuentes

What is the significance of the song 'Ballad of a Thin Man' to Timothy Chalamet?
It's a live version featured in a Scorsese documentary that Timothy Chalamet found particularly influential.
How has Timothy Chalamet been influenced by Bob Dylan?
By immersing himself deeply into Bob Dylan's music and thoughts, embracing lessons on artistic integrity and expression.
How did Timothy Chalamet approach portraying Bob Dylan?
He aimed to capture the essence and spirit of Dylan rather than his precise mannerisms.
What role did the theater space play in Chalamet's acting career?
He found the environment creatively enriching and it helped him develop his acting prowess.
Why does Chalamet consider his role as Bob Dylan particularly special?
It was a crucial opportunity for him to interpret a legendary musician's formative years.

Ver más resúmenes de vídeos

Obtén acceso instantáneo a resúmenes gratuitos de vídeos de YouTube gracias a la IA.

Subtítulos

Desplazamiento automático:

00:00:00
for me it started with the music this
00:00:02
song Ballad of a thin man the live
00:00:03
version that's in the scorey doc that
00:00:05
was my way
00:00:09
in I'm now deep in that church of Bob
00:00:12
and I feel like I got this opportunity
00:00:14
to kind of be a bridge to this
00:00:18
music has been understanding what he
00:00:22
went through has it changed you like Bob
00:00:24
says at the end I don't look back I feel
00:00:26
like I went through a thing and it was
00:00:28
like a new Guiding Light to how I want
00:00:30
to feel when I
00:00:34
work this theater space this is where I
00:00:36
found my rhythm my
00:00:38
confidence it all started there the
00:00:41
journey I've been on as an actor this is
00:00:43
like bringing it all back home no pun
00:00:45
intended you know the words and songs of
00:00:47
Bob Dylan have translated so much of The
00:00:49
Human Experience there's going to be
00:00:51
puns some of these iconic songs were
00:00:53
written here in New York City which is
00:00:55
where I meet Timothy shalam one of the
00:00:58
actors of his generation where dides
00:01:00
that term come from probably also New
00:01:02
York in the early 60s when Bob Dylan
00:01:04
arrived sang these songs and spoke for
00:01:06
his generation what a time what a story
00:01:09
to tell Bob Dylan then and Timothy
00:01:12
shalamay
00:01:14
now well we're here it's good to see you
00:01:17
by the way nice to see you and meet you
00:01:19
I feel like I've known you and uh I'm so
00:01:22
stoked to do this and I feel like you're
00:01:24
talking to a non musician so I'm very
00:01:26
grateful for that I don't think so and
00:01:28
we'll get to that I think I think you
00:01:29
are in lots of different ways I don't
00:01:31
don't think we could be sitting here
00:01:32
having this conversation about this film
00:01:34
and and your journey thus far if if
00:01:37
music hadn't played a role in your life
00:01:39
but we'll get to that I mean it seems
00:01:42
strange to not start with the location
00:01:44
yes and why we're here cuz you were
00:01:45
excited we were coming here I think this
00:01:47
was actually your idea yeah not only
00:01:49
excited this is Manhattan theater Club
00:01:50
this is not this space but the space
00:01:52
right next door yeah that's where I kind
00:01:54
of hibernated and got all these ideas
00:01:56
out and uh so with without the theater I
00:02:00
don't have an acting career and without
00:02:01
your early interviews and in addition to
00:02:04
the interviews you have now you know I
00:02:06
wouldn't uh I wouldn't have jumped into
00:02:07
this either I know you don't do a lot of
00:02:09
this yeah it's not a common thing for
00:02:11
you to sit down with all cameras and
00:02:12
stuff around and so we're going to have
00:02:13
a good time I think the work should
00:02:15
speak for itself all the pretentious
00:02:17
reasons actors would have yeah but this
00:02:19
role and this guy Bob Dylan in this
00:02:20
movie and this is why I like to bring it
00:02:22
into this theater space because I really
00:02:24
I feel like I'm a we get into it but in
00:02:26
the journey I've been on as an actor
00:02:27
this is like bringing it all back home
00:02:28
no pun intended but I had will myself
00:02:30
into doing this a little bit because the
00:02:32
greats like Dana de Lewis or whatever
00:02:34
they don't you don't have to necessarily
00:02:35
explain bit by bit how you went about
00:02:37
something but uh this felt worth it to
00:02:38
me and talking to you felt like the
00:02:40
easiest way and this is the first time
00:02:42
not to be dramatic it's the first time I
00:02:43
talk about this movie or this role with
00:02:44
anyone not to be cynical but the further
00:02:47
you go along sometimes your answers can
00:02:48
get watered down or you get guarded or
00:02:50
defensive if you don't necessarily trust
00:02:51
who you're talking to so this I put off
00:02:54
things because I wanted to make sure the
00:02:56
first time I talked about what's been
00:02:57
the most special thing role I've ever
00:03:00
worked on was with someone whose
00:03:03
interviews I've watched and seems to get
00:03:05
the best out of people you know it's
00:03:06
cool to hear you say that like the most
00:03:09
worthwhile role and you said this really
00:03:11
cool thing to me when we spoke the first
00:03:13
time he said you know I think I I hope
00:03:14
people and I feel like people will
00:03:16
consider it worthy but Worthy is not a
00:03:18
term that gets kicked around when you're
00:03:20
talking about numbers or box office or
00:03:21
worthy you can do something totally
00:03:23
worthy and it can only matter to you the
00:03:25
the experience I had I know was worthy
00:03:27
yeah and but I've joked about it with
00:03:29
friends just because it was the best
00:03:30
experience I've had as an actor or the
00:03:32
most rewarding experience i' had doesn't
00:03:34
really necessarily translate to the
00:03:36
effect of it not only on people but
00:03:37
maybe in the finished product because
00:03:39
I've also had more challenging
00:03:40
experiences that come out great so I
00:03:42
don't think that things necessarily go
00:03:44
hand inand but I do feel like that's a
00:03:45
good word to revolve around is worthy
00:03:47
here because when I got approached with
00:03:50
this project five years ago or six years
00:03:52
ago let's say this 2018 and I had just
00:03:55
done call me by her name Bob Dylan was
00:03:57
this name I knew was held in reverence
00:03:59
and I knew I was supposed to respect if
00:04:01
you were in The In Crowd that's a name
00:04:03
you get behind but truthfully I didn't
00:04:05
know anything about it you know I
00:04:06
thought doing the hen I did a Henry V F
00:04:08
movie called The King I thought it was
00:04:09
to my advantage I didn't grew up in
00:04:10
England and I thought that would be my
00:04:11
advantage with Bob Dylan if we did in
00:04:13
the first year or two years because I
00:04:14
could see online the communities that
00:04:15
revered him how deep that reverence was
00:04:18
and I'm happy it took five six years
00:04:19
because I I'm now deep in that church of
00:04:22
Bob I feel like that's my mission is the
00:04:24
the next three months till the movie
00:04:25
comes out I feel like I'm in the Church
00:04:27
of Bob I'm a humble disciple and I feel
00:04:29
like I got the this opportunity to kind
00:04:31
of be a bridge to this music you know
00:04:35
this period this time period in order to
00:04:36
get to this to this role which is
00:04:38
playing somebody or interpreting
00:04:41
someone's a period of someone's life
00:04:43
while they're still alive there's
00:04:45
certain disciplines I think that that
00:04:47
hopefully you get to go through to
00:04:48
figure out how you do that and I wonder
00:04:51
if any of the work you've done
00:04:53
previously was of service to that
00:04:56
because I I'd imagine it must be one of
00:04:57
the biggest challenges for you you're
00:04:59
saying other roles i' done yeah there's
00:05:01
anything this was the biggest this was
00:05:02
the biggest because this was taking on
00:05:04
someone who maybe to my generation isn't
00:05:06
impersonated to death but to a previous
00:05:08
generation is one of the most I mean I
00:05:11
saw an article I didn't click on but was
00:05:12
like four Dylan Impressionists on the a
00:05:15
complete Unknown trailer so actually
00:05:17
when we're shooting the movie somebody
00:05:18
came up to me one of the actors and he
00:05:20
said ah you're doing early 60s Bob I do
00:05:22
more of a Rolling Thunder review Bob
00:05:23
first of all they were really positive
00:05:25
on your take which must have been nice
00:05:26
yeah that was really nice that was that
00:05:27
was hugely nice and the thing that came
00:05:29
out of it was that they they wanted you
00:05:32
to play Bob yeah it can quickly fall
00:05:34
into character the best feedback I got
00:05:36
over the course of the shoe and this is
00:05:37
the first shoot I really turned my phone
00:05:38
off the entire time you know I was
00:05:40
watching this Ed Bradley interview with
00:05:41
Bob D the other day 60 Minutes one kind
00:05:43
of this famous 2004 interview and Bob
00:05:45
and it says his uh connection to a sense
00:05:49
of Destiny was fragile I like that he
00:05:51
use that word fragile because I always
00:05:52
felt my connection to Bob was fragile I
00:05:54
felt like I came into his music at a
00:05:55
time where pop culturally not a lot of
00:05:59
people around me were coming to Bob
00:06:00
Dylan so I felt very connected to it I
00:06:02
had to learn how famous he was in the
00:06:04
60s and 70s I at first I thought he was
00:06:07
like the the treat I found you know and
00:06:10
as I began to work on the movie and as
00:06:11
everyone has an opinion about Bob
00:06:13
especially an older fan I felt like my
00:06:15
connection to him became fragile and I
00:06:17
had to like fiercely protect that and
00:06:20
fiercely protect what as an actor or the
00:06:21
kind of actor I am is really important
00:06:23
which is a sense of play I don't like to
00:06:25
go about it mechanically and I felt like
00:06:27
that was a learning curve on this too at
00:06:29
some point it was like I need to worry
00:06:31
less about how I think Bob Dylan would
00:06:33
eat a bagel and more capture the spirit
00:06:36
of this guy because you you know one can
00:06:39
get in their head at the beginning of
00:06:40
the process and go especially with other
00:06:42
music biopics yeah okay this is about
00:06:44
brushing your teeth the way he would
00:06:46
have brushed his teeth or or getting the
00:06:48
but anyway all that to say I got this
00:06:50
text from Jeff Rosen who's Bob's manager
00:06:53
halfway through the shoot I didn't even
00:06:54
know he came to set thank God yeah cuz
00:06:56
that whole day I would have been yeah
00:06:57
exactly essentially he said like like
00:07:00
good on you for capturing the spirit of
00:07:02
he didn't say good on you man I'll read
00:07:03
it to you because to the Bob to the Bob
00:07:05
purist they'll go good on you yeah
00:07:07
exactly to that point too Jeff Jeff was
00:07:09
so effusive and positive I Edward Norton
00:07:11
and I were jumping up and down went man
00:07:12
Bob's manager loves it and then we went
00:07:14
oh no the real Bob's such a contrarian
00:07:17
that Jeff's GNA go to him and say this
00:07:18
movie looks good and then Bob's gonna
00:07:20
say well must be a piece of yeah
00:07:21
totally but um for me the connection was
00:07:24
through the music you know at some point
00:07:26
we this movie does not
00:07:27
demystify the cult of Bob doesn't try to
00:07:30
go Oh in fact it's a challenging story
00:07:32
in that way the Johnny Cash movie that
00:07:34
Jim mangled also directed The Johnny
00:07:35
Cash story is a little clear from a tra
00:07:37
not a tragic perspective but from a
00:07:39
narrative you know uh there were beats
00:07:41
clear Beat Beats the flashback beats
00:07:43
that then walk hard I don't know if
00:07:44
you've seen that movie like brutally you
00:07:47
know yeah I made the mistake of watching
00:07:49
five minutes of that movie before I
00:07:50
started this I'm oh my God I'll never be
00:07:51
able to do this you know and uh but this
00:07:54
is a more this is a kind of a confusing
00:07:56
story structure because well he was
00:07:58
confusing he's a mystery he's still he's
00:08:00
still a mystery 61 to 65 the general
00:08:02
impression you get if you read the books
00:08:03
or you've seen any the movies or or read
00:08:05
any of the articles about that time is
00:08:06
that he was almost an apparition and his
00:08:08
come up was two years basically from
00:08:10
when he got to New York in January 1961
00:08:12
to his point of success was like a
00:08:14
2-year run so there isn't the The
00:08:18
Waiting 10 years to come up that's the
00:08:20
other really interesting thing about it
00:08:21
is that um you know this his is a story
00:08:23
of of not even reinvention CU he didn't
00:08:26
even re there's nowhere for him to come
00:08:28
from he literally started fresh when he
00:08:31
got to New York he started there he was
00:08:33
like there's a great quote in the Martin
00:08:34
sces film where he says um you know I
00:08:37
really didn't feel like I had any past
00:08:38
that I had to hold on to so I could just
00:08:40
kind of start again that was a huge
00:08:42
thing for me when I came into this music
00:08:44
I felt like self-invention self creation
00:08:46
you know I grew up 10 blocks from here I
00:08:47
grew up in like a the most untethered
00:08:49
environment and I say that
00:08:51
affectionately you know I grew up in a
00:08:52
Arts Building you know there's a a
00:08:54
rapper from my building named Marlin
00:08:56
craft he's got a New Yorker or piece on
00:08:57
him if you want to understand the
00:08:58
building I grew up in that that's the
00:08:59
thing to read like Alicia Keys grew up
00:09:01
in my building it's all like it's an
00:09:02
Arts it's like a super untethered I
00:09:04
don't know but it's a beautiful place
00:09:06
but
00:09:07
equally I culturally came into all the
00:09:10
things like kid cut your hip-hop the
00:09:11
things that formed me like any normal
00:09:14
kid in that period and then when I was
00:09:15
23 and when I got to
00:09:17
LA and it's not like I hit a wall but I
00:09:21
started to everything's perspective and
00:09:22
I started to see what my perspective was
00:09:25
relating to that kind of music or what
00:09:27
people's perspective that made that
00:09:28
music would be on me as as a as a
00:09:31
whatever as an actor all of a sudden I
00:09:33
was like oh this was a means to an
00:09:34
empowerment but it's but it's something
00:09:36
I'm is fragile for me to relate to or
00:09:38
whatever and then I came into Bob's
00:09:40
Music and and this whole thing of
00:09:42
self-invention which isn't the license
00:09:44
we necessarily give ourself in this day
00:09:46
and age in 2024 no I don't want to
00:09:48
speaking broad Strokes I don't think
00:09:49
it's anti that but it's it's hard it's
00:09:51
more challenging it's more challenging
00:09:53
to get away with or something yeah that
00:09:56
aspect of self-invention it was freeing
00:09:57
to me at a time where already my career
00:10:00
you know people want to know you as a
00:10:01
certain thing and I'm not saying that as
00:10:02
a negative I'm not saying wo is me no
00:10:04
but typ casting is a thing right okay
00:10:06
it's a term I actually want to ask you
00:10:07
about this what does it mean to an actor
00:10:09
when that term ever gets kicked around
00:10:10
even in closed circles where you've had
00:10:12
some success doing a certain thing
00:10:14
people like you for that right is it
00:10:15
hard to break away from what people love
00:10:17
you for most brutally which I haven't
00:10:19
experienced I that's I guess the best
00:10:21
example of typ casting would be if you
00:10:23
had been on a sitcom that have been
00:10:24
hugely popular and you try to make a
00:10:27
dramatic film and know people people
00:10:29
laugh at you on screen cuz they're only
00:10:30
used to laughing at you right in my
00:10:32
experience this is where I also felt
00:10:34
like I connected to Bob in humility so
00:10:36
I'm not putting myself in a level with
00:10:37
but there's got to be some common ground
00:10:38
so I understand why you laying out the
00:10:41
groundwork as a disclaimer but and and
00:10:43
also I've had a life experience I want
00:10:45
to say it's weird but I can relate to
00:10:47
some of these these things he went
00:10:48
through so Bob wanted to be a rock and
00:10:50
roll star Buddy Holly Little Richard
00:10:52
Elvis Presley that was the sort of
00:10:54
depending on your point of view the sort
00:10:56
of like rice krispy pop rock and roll
00:10:58
music that was
00:11:00
saturated and you know marketed to kids
00:11:01
in the late 50s equally I wanted to be a
00:11:04
big movie actor right I wanted to be oh
00:11:07
yeah and but if I audition for The Maze
00:11:09
Runner or Divergent things of that
00:11:11
variety that were popping when I was
00:11:13
coming up it was like the feedback was
00:11:15
always over you don't have the right
00:11:16
body or I had an agent that that called
00:11:17
me and said you got to like put on
00:11:18
weight basically you know not
00:11:20
aggressively but you know and then I
00:11:22
found my way into these like very
00:11:24
personalized movies or something for him
00:11:26
it was folk music you know he couldn't
00:11:28
keep a rock and roll band because they
00:11:29
would all get hired by other kids that
00:11:31
had more money literally in Minnesota so
00:11:34
for me was finding a very personal style
00:11:36
movie like call me by her name or
00:11:37
beautiful boy or ladybird or Little
00:11:39
Women Miss Stevens hot summer nights
00:11:41
those were like smaller budget but very
00:11:45
I don't know how else to put like
00:11:46
personable movies that started in this
00:11:48
theater space this is where I found my
00:11:50
rhythm my confidence my flow doing
00:11:52
prodical son here John Patrick Shanley
00:11:54
that playright they gave me the juice
00:11:56
the way LaGuardia gave me the juice when
00:11:58
I was starting out in high school juice
00:11:59
the juice was the confidence you know
00:12:02
the juice was like um just saying You're
00:12:05
great and also at some point that I
00:12:06
wouldn't take no for an answer like I
00:12:08
felt like there were it was people with
00:12:09
connections that were getting these
00:12:10
roles prodigal son was supposed to be a
00:12:13
kid with connections I don't want to say
00:12:14
that disparagingly you know I say it
00:12:16
respectfully and the audition I had not
00:12:19
in this space but at Manhattan theater
00:12:20
Club in Midtown I was going nuts you
00:12:22
know I was like kicking things across
00:12:23
the room and uh and it was it the role
00:12:26
was about a a sort of a dylan-esque
00:12:29
character a little more like rageful
00:12:31
than Dylan who you know refused to not
00:12:34
break out of his shell you know and and
00:12:36
so to have John the way Harry schiffman
00:12:38
my teacher like you just have to have
00:12:39
people when you're young and this is
00:12:40
where privilege or being in the right
00:12:42
place at the right time does play a
00:12:43
factor that go hey that Pat you on the
00:12:45
back you know that say do this basically
00:12:48
and I realize at some point my strength
00:12:50
is my vulnerability like you know I feel
00:12:52
like you know at at 25 or
00:12:56
something you know similar to Bob again
00:12:58
you hear stories of people that their
00:13:00
upbringings are way more dramatic than
00:13:03
mine you know and then you start to go
00:13:04
like what is my drive you know what is
00:13:07
and then like Bob my drive is my drive
00:13:09
my thing is my thing like it just is at
00:13:11
the time you don't know what that is
00:13:12
right which is why you're going for the
00:13:13
rolls that all your peers are going for
00:13:15
exactly so you're showing up in these
00:13:16
places going well I'd like to play that
00:13:18
and someone goes but you can't yeah
00:13:20
exactly yeah you're not you're you're
00:13:22
you're sort of not cut out for this I
00:13:23
was either not cut out for that kind of
00:13:24
thing or I wasn't what was considered
00:13:26
like a more vulnerable I don't know like
00:13:28
something
00:13:30
it was driving me nuts call me by her
00:13:32
name ladybird hostiles and beautiful boy
00:13:34
I shot in a 9mon stretch or something
00:13:37
and that's before I did any sort of like
00:13:39
press or anything related to it so the
00:13:41
so the window was pure the way Bob made
00:13:45
Bob LP or free wheeling that's how I
00:13:47
look at it you know where his success
00:13:49
was kind of going like that now the
00:13:50
turning point for Bob for me the way I
00:13:52
interpret his career or a symbol of the
00:13:54
turning point is this thing uh a civil
00:13:56
rights award called the Tom Pay award he
00:13:58
got next to James B Balwin and he was
00:14:00
drunk when he was there there's no audio
00:14:02
that exists of it but there's a speech
00:14:03
he gave you can read where clearly he's
00:14:05
had it with sort of being um deified now
00:14:09
I was never deified but I could equally
00:14:10
relate that I was like well I've done
00:14:13
this thing but when Deni VV knocks on
00:14:16
the door about Dune or I got the
00:14:18
opportunity to play Wily Wonka or
00:14:19
something that was Bob wanting to be in
00:14:21
a rock and roll band up top you that was
00:14:23
like well Leonard DiCaprio and those
00:14:26
that's who I initially aspired to be
00:14:27
when that door wasn't open yeah then I
00:14:29
had to go make folk music basically you
00:14:32
know then I had to go really hard it's
00:14:34
the opposite of a thing where that's
00:14:36
where I get jealous of musicians where
00:14:37
you can uh you know show up when you
00:14:40
want and the studio is curated and and
00:14:43
I've watched musicians record with one
00:14:45
engineer in the room or 30 people in the
00:14:47
room you know or take eight years to
00:14:48
make an album or take eight years to
00:14:49
make an album or eight months you know
00:14:51
or never put it out you know and there's
00:14:52
actually a beauty I think and a
00:14:53
rigorousness to a film set you are
00:14:55
showing up at a certain time and you got
00:14:56
to flip the switch and I've seen people
00:14:58
like Christian Bill I've work with
00:14:59
people like that that do it you know so
00:15:01
you just got to do it but that's a whole
00:15:02
other discipline when did you start to
00:15:04
learn that the king that was the the
00:15:07
this movie this Netflix movie The King
00:15:08
The Henry the fth movie that was the
00:15:09
switch and that was also the biggest
00:15:10
budget I worked at and I'm a young New
00:15:14
York 22-year-old kid at that point
00:15:15
playing Henry V who's like one of the
00:15:17
great but every movie I've done has
00:15:20
reflected some place I'm at in my life
00:15:22
in that moment I've had this this weird
00:15:24
gift of that the one exception to that
00:15:26
would maybe be Wonka which is actually a
00:15:27
challenge to kind of Bring It All back
00:15:29
home that movie was like I got to access
00:15:30
a musical theater bone that was really
00:15:33
alive to me at 17 16 at performing arts
00:15:36
high school but now was well I was like
00:15:38
I was postco and all that stuff but
00:15:40
everything else so the king or Dune are
00:15:43
these roles where uh you know it's
00:15:47
they're basically about like a
00:15:48
circumstance being too great for your
00:15:51
youth you know and I I could relate
00:15:53
deeply to that on both those projects
00:15:54
you know um uh that was my point in
00:15:57
relation the Bob thing not to bring it
00:15:58
not I not want to jump five years but
00:16:00
that was like a that was a new challenge
00:16:02
of sort of playing a savant and a genius
00:16:04
and how do you do that somebody once
00:16:05
said to me you can't make a movie about
00:16:06
a painter because it's not interesting
00:16:08
to watch paint dry and and and and you
00:16:11
know and Bob has that yeah yeah and Bob
00:16:14
has that element because he's not I like
00:16:16
to say about Bob he's not one of these
00:16:17
forward- facing musicians in other words
00:16:20
it doesn't make sense to match the
00:16:22
choreography the exact way it was there
00:16:23
was no choreography you know the way the
00:16:26
Jackie the Jackie Onasis biopic Natalie
00:16:28
Portman as a sequence in that that's
00:16:30
step for step exactly what Jackie did
00:16:32
that was sort of my aspiration my
00:16:34
Layman's aspiration going into Bob and
00:16:36
at some point the vocal coach I was
00:16:38
working with or the dialect or movement
00:16:39
all the stuff that I saw my my good
00:16:41
friend Austin Butler crushing with on
00:16:42
Elvis and I thought okay and at some
00:16:44
point I was like wait I got to do none
00:16:45
of this because this is not my style and
00:16:47
B Bob did not have a vocal coach yeah
00:16:51
you know he had two bottles of red wine
00:16:52
and four packets of cigarettes so you
00:16:54
know there's no way to uh impersonate
00:16:57
that you know um but you got to start
00:17:01
somewhere from a process point of view
00:17:04
as someone who has made music and talks
00:17:07
about music and loves music I've got to
00:17:08
get into the whole sort of where it
00:17:10
began for you from a from from a a
00:17:13
performance point of view because cats
00:17:15
out the bag now anyone who knows knows
00:17:17
that's you singing and playing the
00:17:19
guitar on the trailer so you do that
00:17:21
throughout the film and it sounds like
00:17:22
everybody does it sounds like Monica
00:17:23
barara does as well yes as well yeah so
00:17:26
let's just get into the technicalities
00:17:27
of that yeah um you had to teacher but
00:17:29
not only are you learning how to play an
00:17:31
instrument it maybe you had played as a
00:17:32
kid or not but you've got to kind of do
00:17:34
it in a way that is reflective of of the
00:17:37
period of the period and of the person
00:17:39
and his particular type of playing is
00:17:41
what makes him him oh yeah it's a lot of
00:17:43
downstrokes and his strumming pattern in
00:17:45
the early 60s was very different you
00:17:47
know I've heard some people say his
00:17:48
guitar playing sort of peaked in the 80s
00:17:50
and 90s that he was getting better in
00:17:51
other words the the two two craziest
00:17:54
things to me are how people are hard the
00:17:56
purists are hard on his guitar playing
00:17:57
or hard on his voice because Blind
00:17:59
Willie mctell is a good example that but
00:18:00
I can give you a million songs worried
00:18:02
blues or where his voice is beautiful
00:18:04
and it's got that quality okay I got to
00:18:06
I got to wrap it around back to your
00:18:08
question but inside Luen Davis which is
00:18:09
a sort of Bob Dylan inspired movie with
00:18:11
Oscar Isaac Cohen Brothers it makes this
00:18:13
great point that Luen Davis is kind of
00:18:14
like the struggling folk singer the
00:18:15
whole movie but he's got this beautiful
00:18:17
voice and the last scene it's sort of
00:18:18
the anti- biopic he never has his moment
00:18:20
of Triumph but the last scene Len Davis
00:18:22
gives this beautiful rendition of of the
00:18:25
song farewell and then in the background
00:18:26
of a shot you see a Bob Dylan figure Bob
00:18:29
in Shadow with the singing the song
00:18:31
farewell as well but it's like got this
00:18:33
rust this like thing that's cutting
00:18:35
through and and Oscar makes the perfect
00:18:37
expression because all these aspiring
00:18:39
folk artists you couldn't have guess
00:18:41
that this weird thing was going to be
00:18:42
the thing that that cut through so
00:18:45
anyway to bring it back to process for
00:18:46
me it started with the music before
00:18:48
there was even a start date CU this
00:18:50
started really for me and Co sort of
00:18:51
bored and this song Ballad of a thin man
00:18:54
the live version that's in the scors doc
00:18:56
that was my way in what did you feel
00:18:58
when you heard I just like oh this is
00:19:00
rock and roll and and it was this first
00:19:02
like wow is this what the album version
00:19:03
sounds like and then I went to the
00:19:04
original went oh cool he was really just
00:19:07
vibing but at a high level the way he's
00:19:10
pissed off he's pissed off in that like
00:19:12
performance it feels slower it feels
00:19:15
heavier I don't even know sometimes when
00:19:17
the cord changes it just feels to me
00:19:19
like he's just spitting B yeah yeah he
00:19:23
exactly it's acidic it's like battery
00:19:24
acid very acid yeah and and uh Robbie
00:19:27
Robertson I met years later who was kind
00:19:28
of giving me sort of what the vibe was
00:19:30
on that tour actually when I met Robbie
00:19:31
his wife said what do you think about
00:19:32
playing Robbie in a biopic and I said
00:19:34
well I'm supposed to play Bob in a
00:19:35
biopic and she he went God damn it Bob's
00:19:37
been beating me to the punch for 35
00:19:38
years or whatever something like that
00:19:40
but um when Co hit and I was just stuck
00:19:44
at home like everyone was stuck at home
00:19:45
I watched Don't Look Back The Da
00:19:47
pennybaker thing and I started to get
00:19:48
into the times they were changing and I
00:19:50
saw this folk music not as necessarily
00:19:53
chirpy love ballads but then songs like
00:19:55
Ballad of Hollis Brown North Country
00:19:56
blues or rocks and gravel I was like you
00:19:59
know whoa he's this this he's got some
00:20:02
edge here and then there was obviously
00:20:03
there was the black lives matter
00:20:04
movement in that moment and and and
00:20:07
there was like a social social Crest in
00:20:10
America at that time I found myself
00:20:12
going back not only to Bob's Music but
00:20:14
Pete Seager and all these folks that uh
00:20:17
in the 60s had gone through a very
00:20:18
similar thing but I felt like I was
00:20:20
going back to the 60s I went man a lot
00:20:21
of like popular music was that it was
00:20:24
topical songwriting but the music was
00:20:26
The Guiding Light it was you know when I
00:20:28
found myself just pouring over and
00:20:30
pouring into his life and then also
00:20:31
admiring that it didn't feel like he was
00:20:34
virtue signaling you know that it was
00:20:36
simply where his art was that a song
00:20:38
like the death of emit till he wrote
00:20:40
Because he wrote you know his thing was
00:20:42
his thing his juice was his juice you
00:20:43
couldn't really Define it and at some
00:20:45
point 6465 where he felt like he had
00:20:48
been pedestaled he turned his back and
00:20:50
like and and what to me is a coolest
00:20:52
thing ever you know that's why I love
00:20:54
bringing it all back home so much that
00:20:55
album because I know that it got heavier
00:20:57
and progressively heavier he' made the
00:20:59
cut he done it he'd gone I'm out that's
00:21:01
my favorite album that was a moment
00:21:03
where he like in battle of him man where
00:21:04
he's like something's going on you don't
00:21:05
know what it is like that I didn't know
00:21:07
what that song was about until maybe 6
00:21:09
months ago and I don't want to I don't
00:21:10
want to presuppose but then I I was
00:21:11
reading in that book the sort of
00:21:13
whatever the ones that explain that it's
00:21:14
sort of about about folks like me a
00:21:16
little bit a little bit a little
00:21:19
bit no a little bit I mean and me too
00:21:21
people that are like sort of on the
00:21:23
outside and trying to understand it
00:21:25
trying to sorry trying to understand it
00:21:28
look I mean curiosity is a funny thing
00:21:30
and you have to walk the line really
00:21:31
carefully right like what what got me
00:21:32
into a chair like this having a
00:21:33
conversation with you is this curiosity
00:21:35
that just keeps bigger and bigger and
00:21:36
bigger the longer I go yeah which is
00:21:38
beautiful but you have to be careful
00:21:40
with it right because to your point it's
00:21:42
it's not to be overanalyzed and and it's
00:21:44
probably not to be analyzed at all he
00:21:45
would say that you know Bob's got a
00:21:47
great interview with Martha Graham uh '
00:21:49
80s MTV journalist where she he's
00:21:52
describing a a n a German movie that he
00:21:54
wanted a music video to be like and she
00:21:55
said well what's the movie about and
00:21:57
he's like well it's kind of hard to
00:21:58
explain you know it's kind of like
00:21:59
trying to tell someone what what's a
00:22:01
song about you it's like somebody say
00:22:03
what's the song about he goes would you
00:22:03
listen to it you're like yeah I listen
00:22:05
to it well that's what the song's about
00:22:07
that's been my whole life trying to find
00:22:08
out what the song's about yeah yeah and
00:22:11
and the and the gift that he's you know
00:22:13
the da Penny Baker doc called Don't Look
00:22:15
Back I feel like he lives it to a te you
00:22:17
know the no direction home the Scorsese
00:22:19
doc he didn't watch until like three
00:22:20
years ago I mean Bob has that great
00:22:22
quote kind of like ballot of a thin
00:22:24
manner where Jeff said why did you leave
00:22:26
the F Community why did you disappear in
00:22:27
the 60s he goes well I was sick of
00:22:28
people like you he says to his own
00:22:29
manager you know which is fantastic my
00:22:32
other favorite quote in that is when
00:22:33
they're talking about the booing and he
00:22:34
goes I didn't really get it I mean I
00:22:36
didn't make me mad though they can kill
00:22:37
you with kindness too exactly exactly
00:22:41
and and those kind of artists it's hard
00:22:43
now I don't know how someone would do it
00:22:45
now musically you know those kind of
00:22:47
artists that are sincerely indifferent
00:22:49
because he's 83 now he's sort of
00:22:50
retreated from the public eye I know him
00:22:52
you never met him never met him would
00:22:55
love to any contact at all I've seen him
00:22:57
live
00:23:00
but did he did he contribute did did he
00:23:01
write you a note did he send you
00:23:02
anything nothing no that would be the
00:23:04
most the least Bob like thing ever
00:23:06
approve the script he made modifications
00:23:08
in the script he has lines that are his
00:23:09
in the script you know that I relished
00:23:11
oh wow so you could definitely tell his
00:23:13
lines that well there was one I was
00:23:14
saying a Jim mangle the director writer
00:23:16
and I said this is good man I was like
00:23:17
when didd you come up with this he goes
00:23:18
Bob put that in I was like oh I was like
00:23:21
yeah yeah yeah yeah I was like that's
00:23:23
that's a b yeah it was yeah yeah he has
00:23:26
he has the Bob annotated script I'm
00:23:27
going to ask Jim for it he won't give it
00:23:29
to me but I want it you know with the
00:23:31
annotations he didn't really there's a
00:23:34
song I don't want to say what song but
00:23:35
there's a song like Jim was looking to
00:23:36
cut verses because it's really long in
00:23:38
the movie and um I just love it like he
00:23:41
went to Bob very nervously and said like
00:23:43
you know and that Bob was me like third
00:23:45
verse sixth verse seventh verse you know
00:23:47
ex out like you don't really need those
00:23:48
ones he's sort of unsentimental about
00:23:51
that's the coolest thing ever man like
00:23:53
he had some instinct to not let people
00:23:56
in at the beginning it's hard because
00:23:58
because when people say when people Pat
00:24:00
you on the back and say hey you did a
00:24:01
good job you kind of want to explain why
00:24:03
you did a good job you know and he just
00:24:06
had some insight to not and that's
00:24:08
that's where I'm so prideful to get to
00:24:10
play Bob in the 60s because you think
00:24:12
Paul McCartney and Mick Jagger or Jimmy
00:24:14
Hendricks and these sort of Larger than
00:24:15
Life figures to the earlier metaphor
00:24:18
about Mason or Divergent when I look at
00:24:20
my older contemporaries my
00:24:20
contemporaries now I don't really see
00:24:22
myself in the mirror of them I don't say
00:24:23
that to put myself down but I just don't
00:24:25
when I watch group interviews for movies
00:24:27
I put out whatever and they cut
00:24:28
castmates I think they're much much
00:24:31
better spoken like they can flip the
00:24:32
Hollywood thing on way more than I I
00:24:34
feel like I Stumble over my words and I
00:24:35
can't really get it across so I like I
00:24:38
get to be Bob in that 60s I'm pretending
00:24:40
there's a Multiverse that doesn't exist
00:24:42
so the fact that I get to be this guy
00:24:45
you know and that's where I try to be
00:24:47
humble too and check my ego at the door
00:24:49
that in process I never wanted to see
00:24:52
myself less when I looked at the monitor
00:24:54
in the movie and I've also ever before
00:24:57
in this particular yeah why is that well
00:24:59
because the guy's so known you know when
00:25:01
I've seen when I've had to do ADR you
00:25:02
know coming and fill lines I've had to
00:25:04
divorce myself I'm like this isn't da
00:25:06
Penny Baker you know this is its own
00:25:08
thing now and and it's not an impression
00:25:12
Olympics it's a thing I found early on
00:25:14
you know it it it you it's a process you
00:25:17
can't you can't do at home you know you
00:25:20
got to be on set figuring it out and
00:25:22
like anything I've always been humble
00:25:23
about this you got to play to the least
00:25:25
educated person in the room not
00:25:27
exclusively but but that's who you're
00:25:28
making it for because again someone said
00:25:31
to me in Bob's Camp I'm not going to say
00:25:32
who but they said don't worry about the
00:25:34
Bob Dylan fans not liking this Bob Dylan
00:25:37
fans don't like what Bob Dylan does you
00:25:39
know what I mean which is a great point
00:25:41
they're like they haven't liked what
00:25:42
he's done since 1966 you know what I
00:25:45
mean so that was sort of a weight off my
00:25:47
shoulders yeah it was the most unique
00:25:49
challenge I've taken on but that where
00:25:52
my my confidence came through is
00:25:53
eventually doing all the Music Live you
00:25:55
know maybe it was the least responsible
00:25:56
thing on the actor's part because music
00:25:58
exists and the performances exist so
00:26:00
maybe I should have been most concerned
00:26:01
about spreading no no no you're not
00:26:02
wrong Stakes is high for sure and and
00:26:04
like when well first of all like you
00:26:06
said Bob's Bob's here Bobba is alive Bob
00:26:09
Bob this is interpretive this is not
00:26:10
definitive this is not fact this is not
00:26:12
how it happened this is a fable you know
00:26:14
exactly it's not it's it's kind of
00:26:16
softball to say would the easiest thing
00:26:18
would have been to sing along to the
00:26:19
original songs or whatever but it's it's
00:26:21
a lot to take on MH because you're not
00:26:23
just having to do it Faithfully in fact
00:26:26
you have to do it uniquely right you
00:26:28
have to do it in a way that isn't like
00:26:30
like the songs that exist cuz otherwise
00:26:32
just sing a lot of those exactly so
00:26:33
that's a whole other thing it's a whole
00:26:35
other thing but when you say uniquely
00:26:38
that's what Harry schiffman one of my
00:26:39
earliest mentors when I was taking on
00:26:40
this role he said don't worry about
00:26:42
being Bob Dylan Like because people can
00:26:44
go see Bob Dy they can watch the early
00:26:45
footage or go see him now because he's
00:26:46
still tours this is about not only
00:26:48
myself interpreting Bob but Edward noron
00:26:51
interpreting Pete Seer and Monica
00:26:52
interpreting Joan bz and um Boyd hook
00:26:56
interpreting Johnny Cash you know in
00:26:57
this moment in this 60s where American
00:26:59
culture was a kaleidoscope and grenwich
00:27:01
Village was a kaleidoscope you know the
00:27:03
way culture still is now too but but
00:27:06
it's just without being like a history
00:27:08
teacher that was the beginning you know
00:27:10
personalized music stuff with intention
00:27:12
stuff with poetry it all started there
00:27:16
in the movie we did these pre-record but
00:27:18
I'm not playing the guitar on the
00:27:19
pre-record with Nick Baxter is a super
00:27:21
talented musical supervisor and the
00:27:23
music and I would butt heads with Nick a
00:27:25
lot the guitar sounded really friendly
00:27:28
it's hard to get that sound I mean he
00:27:30
was playing on a a card a guitar that
00:27:31
was basically falling apart you know and
00:27:33
I also found like my voice had like a
00:27:35
bar tone it was it all sounded clean and
00:27:37
I was doing vocal warm-ups with Eric
00:27:38
vitro who was this vocal coach help me
00:27:40
on Wonka and helped me sing Grand on
00:27:43
Wonka and then here I would listen it
00:27:44
back and I'm like man this sounds too
00:27:46
clean you know and then when we would do
00:27:48
it on set it was song To Woody which is
00:27:49
one of my favorite Bob Dylan songs ever
00:27:51
it was the first one we shot in the
00:27:52
movie you couldn't do it to a playback
00:27:54
cuz it's such an intimate scene it's in
00:27:55
a hospital room with Woody with Woody
00:27:57
Guth and Pete SE
00:27:58
and I did it live and it and it and it
00:28:01
went it clicked great you know and I'm
00:28:04
making mistakes on the guitar a little
00:28:05
bit here in there you can kind of fill
00:28:07
those in after I went home and I wept
00:28:09
that night not to be dramatic but it's a
00:28:10
song I've been living with for years and
00:28:13
and something I could relate to deeply
00:28:15
and I also felt I I come back to this
00:28:17
word a lot I felt like it was the most
00:28:18
dignified work I'd ever done and dignity
00:28:21
might be a weird word there but it felt
00:28:23
like so dignified and humble we're just
00:28:25
bringing life to a thing that happened
00:28:27
67 years ago I went oh of course Leo and
00:28:30
Daniel de Lewis of course they do these
00:28:31
biopics it kind of all clicked because
00:28:34
there's dignity to it you're not pulling
00:28:35
at a thin air this is this happened you
00:28:38
know we did when I did song To Woody
00:28:40
which is a song I like I said I could
00:28:42
relate to deeply and it went great then
00:28:43
I was like all right I'm going to fight
00:28:44
this war until the rest of the movie and
00:28:45
Nick Baxter and I were great friends and
00:28:48
he came to my house the other night and
00:28:49
we're great friends but over the course
00:28:50
of the movie it was a
00:28:52
constant you know the metaphor was like
00:28:55
I was throwing this delicately
00:28:58
made China on the ground each time we
00:29:00
didn't use a pre-record something we had
00:29:01
crafted in La for six months but there's
00:29:04
not a single pre-record in the movie and
00:29:06
then Jim would say to console Nick or
00:29:08
myself you know treat that as like a
00:29:11
work session you know you were
00:29:12
practicing to do it left because all of
00:29:13
a sudden Edward Norton say too something
00:29:15
clicked in my voice there was a certain
00:29:17
rawness those microphones those old
00:29:19
school microphones we were using were
00:29:20
playing in concert halls I could get I
00:29:21
could get the strum better and I could
00:29:23
get how he was singing he also say
00:29:24
something really really beautiful about
00:29:27
the natural comforting effec of Reverb
00:29:30
and the fact that it allows you like and
00:29:32
theater has it anywhere where you
00:29:34
perform the idea of what you do what you
00:29:37
do being wrapped up and nurtured by the
00:29:41
the natural Reverb of the room
00:29:42
absolutely allows you the space to be
00:29:47
more open and to be Freer in there
00:29:49
absolutely you're in a studio
00:29:50
meticulously creating pre-recorded
00:29:52
tracks yeah that's that feels to me
00:29:54
confined and a it's confined and
00:29:56
contrived and you can also hear that my
00:29:57
arm is not going the way you don't hear
00:30:00
Bob's arm going but he's doing something
00:30:01
to his voice but you're in that club and
00:30:03
you the cameras are rolling but who
00:30:05
cares about them right now there a
00:30:07
spotlight on you and you're singing this
00:30:08
song exactly and I didn't know of
00:30:11
another music biopic where somebody was
00:30:12
doing it live you know and I I'm like a
00:30:14
I you know Jeremy Kleiner who was a
00:30:16
great producer he once said to me you
00:30:17
act lyrically and I love that I love
00:30:19
that yeah I don't want to understand
00:30:21
myself too much as an actor but it made
00:30:22
sense to me you know you know holding my
00:30:23
elbow a different way isn't as
00:30:25
interesting to me as capturing like
00:30:26
spirit and soul and something and here
00:30:28
it was in the music that I could capture
00:30:29
the spirit and the Soul you know it
00:30:31
wasn't I couldn't I I I did find my way
00:30:33
in otherwise you'll see like you got to
00:30:35
when you're playing Bob Dylan otherwise
00:30:37
it's going to be weird to claim you're
00:30:39
Bob Dylan and not doing things that were
00:30:40
unique to his behavior but that's that's
00:30:42
it I mean you know if you're doing a bck
00:30:44
about somebody it's because they've had
00:30:45
enough of an impact on us all as human
00:30:47
beings and on society through the music
00:30:49
that they make that we know those songs
00:30:50
inside out so we're right there like
00:30:53
shouts to to to Remy mallik right when
00:30:55
he did Queen live AG which is amazing
00:30:57
amazing when I saw that performance of
00:30:59
him of of him doing live a that that
00:31:01
performance of Queen at live a being a
00:31:03
boomer is ingrained in me so hit those
00:31:05
beats but how do you hit those beats
00:31:08
when Bob is like I said you can't sing
00:31:11
along Faithfully to a Bob Dylan song you
00:31:13
just got to sing perfectly said it's
00:31:15
sort of Blasphemous on its nose that's
00:31:16
why Joel Cohen before we had Mangold
00:31:18
involved who directed inside Len Davis I
00:31:19
said hey don't why don't you direct the
00:31:21
Bob Dylan movie and he said it's
00:31:23
impossible and I said why is it
00:31:25
impossible he goes because it's not
00:31:26
about a singular moment how do in a
00:31:28
2-hour movie
00:31:30
Encompass the the miracle that is the
00:31:33
breadth of what he wrote and how much he
00:31:35
got out and the fact that it's like
00:31:37
watching paint dry because how do you
00:31:38
how do you make how do you make lyric
00:31:40
writing interesting basically so tell me
00:31:42
what is the movie about so the movie is
00:31:44
about 1961 and 1965 a young Bob Dylan
00:31:48
arriving in New York and how his career
00:31:50
took off it's sort of about the folk
00:31:51
Community it's an ensemble movie right
00:31:53
it's an ensemble yeah it really is I
00:31:54
mean a free whe in time which is Suz
00:31:56
Rolo's book and there was another book
00:31:58
which the name of which escapes me that
00:31:59
was less about Bob and more about
00:32:01
Greenwich Village at that time because
00:32:02
Greenwich Village was this artistic
00:32:04
Community where people were bubbling and
00:32:05
you had people like Pete Seager da van
00:32:07
rck or Paul Clayton that were like folk
00:32:10
stars but but through McCarthyism folk
00:32:12
music got blacklisted in the late 50s so
00:32:15
nobody had cracked through and rock and
00:32:17
roll was seen as this kind of thin music
00:32:20
that was you know you know on the Pick
00:32:21
It line with us right yeah exactly it
00:32:23
was like aimed at teenagers so the
00:32:24
Newport Folk Festival was sort of the
00:32:26
Coachella let's say for like better
00:32:28
metaphor of the picket line of pure
00:32:31
music of Folk Music and so there was
00:32:32
sort of an opening for someone if not
00:32:35
literally a young person to sort of take
00:32:39
over the folk Community the the
00:32:41
structure of the movies that Woody
00:32:42
Guthrie was dying that Pete Seager was
00:32:45
sort of the lieutenant and was like a
00:32:47
real
00:32:48
Bonafide folk artist and you know
00:32:52
politically super on the left and of the
00:32:54
people and he was slated to take over
00:32:56
the folk community and at nowhere a
00:32:58
prophet shows up that is Bob Dylan who
00:33:01
inexplicably takes over everything at
00:33:03
once and who's who who in Bob's words
00:33:05
the songs are coming from God and the Ed
00:33:06
Bradley interview says I can't do it
00:33:08
anymore so in that period anyway and
00:33:10
then at the moment of deification at the
00:33:12
moment where he was on top decided to
00:33:15
turn his back on the folk community in
00:33:16
one interpretive way in another way he
00:33:18
just wanted to make the music he wanted
00:33:19
to make and became a rock and roll star
00:33:21
let's say the first rock and roll star
00:33:22
at the Newport Folk Festival got booed
00:33:24
off stage or like a mixed reaction
00:33:27
because because he took let's say what
00:33:31
was considered pop music whatever rock
00:33:32
and roll and he played it at what was
00:33:34
supposed to be a space of Purity at a
00:33:36
time when he was considered to be the
00:33:37
one person through all of this
00:33:39
blacklisting this fear-mongering this
00:33:41
mcarthism this there's no place for
00:33:43
politics and music if you if you step on
00:33:45
that stage and you speak about
00:33:46
government and we speak about our
00:33:47
actions we will make it very tough for
00:33:49
you to reach your audience was
00:33:50
legitimately happening he was bigger
00:33:52
than that so they saw him as someone who
00:33:54
was going to be able to destroy
00:33:58
that methodology right cut through and
00:34:00
Reach people and then he went over here
00:34:02
and then he went over here and he played
00:34:02
rock and roll yeah and and and and sort
00:34:05
of yeah got rid of his savior label and
00:34:07
people thought he was making like not
00:34:09
only a bad career decision but a bad
00:34:11
artistic decision the irony is now like
00:34:13
a rolling stone or sub trinian Homesick
00:34:15
Blues they're kind of considered some of
00:34:17
his his best music but so that's
00:34:19
generally what the movie is about you
00:34:21
know it's that it's that period and it's
00:34:22
a good period too because mid-60s early
00:34:24
you know mid 70s Rolling Thunder review
00:34:26
' 80s Bob a lot of it's Chronicle this
00:34:27
this is sort of the period cuz he wasn't
00:34:29
famous yet that's the least sort of
00:34:31
scene but we also don't demystify it the
00:34:33
movie is called the complete unknown so
00:34:35
this isn't like this isn't inventing
00:34:37
tragedy to explain backstory in fact
00:34:39
that was sort of sort of some of the
00:34:40
challenge of the movie you're playing
00:34:41
someone whose career rise was rapid you
00:34:44
know where which I can relate to too
00:34:46
because I I I I struggled and I worked
00:34:49
very hard but ultimately my career took
00:34:50
off when I was 21 you know so yeah I
00:34:52
want to talk about that actually because
00:34:53
the idea of like quote unquote Fame
00:34:55
right when something happens to you very
00:34:56
fast and it's a product of of how of of
00:34:59
the good work that you do needless to
00:35:01
say if there's the chemistry of like
00:35:03
your most authentic self meeting the
00:35:05
best opportunity meeting the most amount
00:35:06
of people that's good Fame with all my
00:35:09
work but especially the early work it so
00:35:12
wasn't working until it totally worked
00:35:16
and that's why I'm so proud if youed to
00:35:18
call me by her name had a small budget
00:35:19
it was like a $3 million movie and in
00:35:20
the context of how people's careers
00:35:23
launch it's never that I mean rarely
00:35:26
rarely that's when I'm happy to bring it
00:35:28
all back home with this one or even do
00:35:29
this interview here because this is the
00:35:31
sweet spot as an actor is you know these
00:35:34
sort of bigger budget they're not like
00:35:35
an indie but it's a bigger budget thing
00:35:37
it's sort of like where I feel like Leo
00:35:38
did a lot of his great work it's not the
00:35:40
huge movies that are really hard to
00:35:42
sneak great performances in I always
00:35:43
talk about Heath Ledger as Joker in The
00:35:45
Dark Knight that's an example of a huge
00:35:46
movie where someone snuck in a yeah a
00:35:48
fantastic performance his
00:35:50
performance in that by RS could have
00:35:52
been the box office death of that film
00:35:55
it was that strange strange and
00:35:56
affecting and intense but because he was
00:36:00
who he was he made it even bigger yeah
00:36:03
without compromising anything no
00:36:05
compromise no compromise um and it feels
00:36:09
to me like your experience is here and
00:36:12
that 9month period we got to make those
00:36:14
films and everything you went through
00:36:15
because let's not forget you'd had a
00:36:16
taste of what it was to be on a big seat
00:36:17
you did Interstellar I mean yeah
00:36:19
Interstellar for me Interstellar and I
00:36:21
was I was signing William Morris the
00:36:23
agency that was Bob having a deal at
00:36:25
Columbia and his album flopping it's
00:36:27
it's not like nothing flopped but
00:36:29
remains my favorite movie I've ever been
00:36:30
in you know that's that's at the top of
00:36:32
my list that's the one I go back to and
00:36:33
watch but I thought it was going to do
00:36:36
something for my career the way it
00:36:38
didn't you I just thought my part was
00:36:39
bigger basically there's a scene where
00:36:40
MC the best acting some of the best
00:36:42
acting of the decade where he's weeping
00:36:44
in the in the uh the ship I'm the other
00:36:47
half of that scene so I thought it would
00:36:49
cut sort of back and forth you know what
00:36:51
I mean even though stay on him it's on
00:36:54
him
00:36:56
so you know so I'm sort of yeah yeah so
00:36:59
I'm sort of I was watching watching it
00:37:01
just like where am I you know and then
00:37:03
and then it cuts to to to Casey was
00:37:05
playing me older I was like now I'm out
00:37:06
the movie you know but um yeah but
00:37:08
there's a great moment when you say
00:37:09
goodbye to him yeah that's great there's
00:37:11
there's also a shot in one of the
00:37:12
trailers I'm saying good bu to him that
00:37:14
wasn't in the movie so also when I watch
00:37:15
the movie they used this like push in
00:37:16
shot so I was getting ready for this you
00:37:18
know well this is this is this this
00:37:20
leaves an interesting placeing in your
00:37:22
role in this in um in a complete unknown
00:37:24
because you're also a producer on this
00:37:26
film so what happens with successes you
00:37:28
get to a point where you're able to have
00:37:29
a little bit more of an invested
00:37:30
interest in the end result when you're
00:37:32
an actor and you're starting out it's
00:37:33
pure trust in the director abely trust
00:37:36
in the studio now you get to produce
00:37:38
this film it it puts you in a in a more
00:37:40
invested role which ultimately people
00:37:41
want you to be MH but there's going to
00:37:43
be moments when your instinct goes above
00:37:46
and beyond protocol even where an actor
00:37:48
and a director an actor and a studio and
00:37:50
actor and a producer you talked about
00:37:51
some of the areas where you already kind
00:37:52
of had to put your foot down and say no
00:37:53
I want to do it like this so what's that
00:37:55
line like to walk as you as you as you
00:37:57
haveit as you take on more
00:37:58
responsibility for the projects you say
00:38:00
yes to what's it
00:38:02
like building a new form of trust with
00:38:05
the people who that's a great question I
00:38:07
don't want to I don't you can't medal a
00:38:09
director has to have their singular
00:38:11
Vision I've been spoiled where I've
00:38:12
worked almost exclusively with URS in
00:38:15
some way produc orally I see like people
00:38:18
that are really all over it that's where
00:38:20
I earn that justification is the music I
00:38:22
snuck into the movie so I feel like
00:38:24
that's where I earn my credit there
00:38:26
being an actor is about being humanist
00:38:28
at its core that's my theory you have a
00:38:31
couple actors that are alienists you're
00:38:33
watching them for their worldview and
00:38:35
how they and you don't really relate to
00:38:36
it but you go oh that's kind of
00:38:37
fascinating most actors like you are
00:38:38
relating through I would put myself more
00:38:41
in that humanist category but I found in
00:38:43
my early career when call me by her name
00:38:44
and all this stuff was taken off and I
00:38:46
was like treated like a pop star or
00:38:47
something you can drink the Kool-Aid for
00:38:49
like a better expression and when I was
00:38:51
doing my play here my dream was to on
00:38:53
Showtime or HBO book a miniseries or
00:38:55
something that I have a great role in I
00:38:57
had home humbled myself to that point I
00:38:58
really was like act this this is a
00:39:01
drying up business if I could just get a
00:39:03
great but I found for my work I'm like
00:39:05
wait I'm jealous of the musicians or the
00:39:07
pop stars your your music can be about
00:39:09
your eroding Humanity or if you're a
00:39:10
postmodernist or something it could be
00:39:12
about anything but I'm like pounding my
00:39:14
nail in the wall so I actually have to
00:39:16
retain that sense of humanity that's
00:39:19
that's a long- winded way of saying so I
00:39:20
have a producer credit on a movie that's
00:39:23
really not to you know any director I
00:39:26
work with I was just pitching Alonso
00:39:27
Quon a project but if I produce
00:39:29
something that he's directing I'm not
00:39:31
going to be you know cuz uh that would
00:39:33
be foolish you know um unless I direct
00:39:35
something one day but I wouldn't direct
00:39:36
myself in something would you do that I
00:39:38
wouldn't I I would I would definitely
00:39:39
direct something and I also think I've
00:39:41
had a the I've had a few like I have the
00:39:45
weird worldview experience where I've
00:39:46
worked with like 10 greats and I've seen
00:39:50
how they've all or like something
00:39:52
something like that something crazy and
00:39:53
I've seen how they all work so most it's
00:39:55
it's an insular job most directors
00:39:57
really see how other directors work
00:39:58
Greta has because she's an actress in
00:40:00
her own right but but uh but I always
00:40:02
think like when actors get to work with
00:40:04
the great it's like at some point you're
00:40:05
going to have to Define your vision
00:40:06
right there's great examples of
00:40:08
musicians who played guitar for great
00:40:10
bands session play like Jimmy pagee
00:40:11
right Jimmy Paige was like a very
00:40:13
successful session guitar player very
00:40:15
successful could have made a great
00:40:16
living out of that but then he had to go
00:40:18
find out what Li Zeppelin sounded like
00:40:19
right right right and so at some point
00:40:22
it's going to be like yeah of course
00:40:23
like I know what makes James James and
00:40:25
and you can take all those things but
00:40:26
what's your identity is directed going
00:40:28
to be that I have no clue I know what I
00:40:30
don't want it to be I'm in this I'm in
00:40:32
this worldview where the film business
00:40:34
this this is my inner Tom Cruz no I'm
00:40:36
joking but like but where the film
00:40:38
business sort of isn't what it was so I
00:40:41
feel there's a responsibility to make
00:40:42
things that works that's not that
00:40:45
doesn't dare an audience to be bored
00:40:47
basically which is what a lot of
00:40:50
prestige movies do right and so that's
00:40:53
why I love this Bob Dylan movie because
00:40:54
there's two versions of Bob Dylan movie
00:40:55
I think one is a behavioral master class
00:41:00
that honors someone who didn't really
00:41:01
make a lot of eye contact M and then
00:41:04
what's the movie about then it's like
00:41:05
watching paint dry or something and and
00:41:07
to the people that know he's a genius
00:41:08
they love it and to people that don't
00:41:09
know anything about him they'd rather
00:41:11
you know spend their time and money
00:41:12
elsewhere and then there's the other
00:41:14
version that's disingenuous
00:41:16
to who he actually was and his like a
00:41:20
greatest hits thing and he's yeah smooth
00:41:22
talking and making eye contact and this
00:41:24
is something else where it's still
00:41:26
engaging which is why mangle was the
00:41:27
best director but it doesn't dishonor
00:41:29
the fact that this was a strange cat so
00:41:30
it's an ensemble cast and there's a lot
00:41:33
of characters that played really pivotal
00:41:34
roles in in Bob's story and and I think
00:41:37
what what became very clear in the
00:41:39
movies that that follow in the
00:41:40
documentaries and the stories and
00:41:41
interviews was that he was he was trying
00:41:43
to get away from it being about him and
00:41:46
he was he was respectful of the fact
00:41:49
that it was about Pete and about Joan
00:41:51
and about Sue ultimately now played as
00:41:55
sy so what was it like kind of where
00:41:57
looking it in character with that cost
00:42:01
mentality and with the chemistry of
00:42:03
those people around and having to sort
00:42:04
of recaptured that experience that he
00:42:06
was going through with those really
00:42:08
pivotal people in his life okay I'll
00:42:10
give you two answers one is about
00:42:13
preparation for Bob exclusively one is
00:42:15
about in relation to those characters so
00:42:17
what I did for Bob started during Co
00:42:19
that was learning all the songs learning
00:42:22
maybe the Bob songs I know how to play
00:42:24
20% of which are in the movie so that
00:42:26
was the first education then I was
00:42:27
working with Tim monik who's the why you
00:42:30
had to learn how many songs for the
00:42:32
movie I had to
00:42:33
learn 13 let's say or something but in
00:42:36
total I could probably play 30 so Tim
00:42:38
monik was a dialect coach that's who I
00:42:40
work with for years on this work with a
00:42:42
harmonica coach for five years and then
00:42:45
worked with a woman named Polly Bennett
00:42:47
who's a a movement coach that actually
00:42:50
we got more out of just working on the
00:42:52
script together than anything
00:42:53
physicality related and then for my own
00:42:56
Spirit Guap gaing for like a better
00:42:57
metaphor I retrace Bob step through
00:43:00
Chicago his steps through Chicago and
00:43:02
Madison Wisconsin and I started in
00:43:04
Hibbing in duth and I spent about a week
00:43:05
where he was from in Minnesota so let's
00:43:07
get into that part of it because I could
00:43:09
go there and I could go and visit a
00:43:10
house that he lived in or right I did
00:43:12
visit the house he lived in because it's
00:43:13
a mega fan named Bill I'm forget his
00:43:14
last name but Bill owns the house and
00:43:17
there's a piece of paper where he wrote
00:43:19
this not online he wrote the lyrics to
00:43:20
song To Woody which has the melody
00:43:23
structure of 1913 Massacre he wrote it
00:43:26
on the record sleeve of 1913 Massacre
00:43:30
with a drawing that says Bob in Chicago
00:43:33
a drawing of him from the back with a
00:43:35
long winding road to New York City and
00:43:37
it says Bound for Glory and he and he
00:43:40
drew it's yeah what which is the name of
00:43:42
the Woody goth three book and then and
00:43:44
then and then a drawing of New York City
00:43:46
with Woody and NYC at the top but I but
00:43:48
I but I went there just to get a sense
00:43:50
of and also because it was sort of
00:43:52
mysterious to me and still is mysterious
00:43:53
Hibbing and Deluth they're like on the
00:43:54
edge of the world it felt like I went at
00:43:56
the peak of wind
00:43:57
and I was I landed in Minneapolis I
00:43:59
rented a truck I was racing down the
00:44:01
highway and listening to sun the sun
00:44:03
record Sun record is that what it was
00:44:04
where that Johnny Cash and Elvis and all
00:44:05
them were on when they were young and
00:44:07
then I skitted on on on ice and because
00:44:10
I didn't know the roads well enough just
00:44:11
get a sense of where he's from obviously
00:44:13
Minnesota in 2024 not the 60s but those
00:44:16
are good friendly people you know that
00:44:19
don't have the city pretentions that you
00:44:22
know sometimes you have live in New York
00:44:24
or La did you get a sense of what he was
00:44:25
trying to get away from yeah
00:44:27
I absolutely did I absolutely did I
00:44:29
could sort of relate to it that my dad
00:44:31
my dad's sort of from the Minnesota of
00:44:33
France you know he's from he's not from
00:44:34
Paris he's from from uh adesh is the
00:44:37
region you know so when I spent my
00:44:39
summers in that region I could relate to
00:44:41
that where I was in a Tiny Town in
00:44:42
France and it's not that I resented it
00:44:44
but I went man there's got to be
00:44:45
something out there CU I feel it again
00:44:49
what's your reason to being sometimes
00:44:50
your reason of being is just your reason
00:44:52
of being they just got something to say
00:44:54
it matters sometimes less what you have
00:44:56
to say more your need to say it yeah you
00:44:58
know so just trying to get a sense of
00:45:00
how he was like I said drove through
00:45:02
Madison in Chicago which is supposed to
00:45:05
be what his route was to New York on his
00:45:07
first journey there just you just me
00:45:10
just me it had to be just me and then I
00:45:12
you know because you got to that's the
00:45:15
challenge of as opposed to like when I
00:45:16
was shooting beautiful boy you got to
00:45:17
create those moments of insularity as an
00:45:20
actor it's it and it can become more
00:45:21
challenging and you want to offshoot
00:45:23
responsibilities you know but the whole
00:45:24
point why you know I didn't get into
00:45:26
this to that's the whole thing with all
00:45:28
the coaches and stuff I had to do it
00:45:29
because because I knew my contemporaries
00:45:33
that had done biopics had done it and
00:45:34
that's some point I was like this isn't
00:45:36
this isn't helping me and it's also not
00:45:39
fun it's not it's not as rewarding you
00:45:41
see exactly you get to check in Chicago
00:45:42
and you have one job which is to try to
00:45:45
better understand the environment even
00:45:47
when I was Landing in Minneapolis and I
00:45:48
had tears in my eyes because I thought
00:45:49
this is so strange I thought here's a
00:45:52
guy you know if you told me Bob came has
00:45:55
come to me to me what C he meant to me
00:45:57
so visiting where cudy lived on New Lots
00:45:58
Avenue in New York when I dropped out of
00:46:00
college for Interstellar and I couldn't
00:46:01
get a job and I'm at New Lots Avenue on
00:46:03
the last stop of the train just to see
00:46:05
where he was made sense if you told me I
00:46:08
was going to have that journey through
00:46:09
my early 20s mid 20s with another artist
00:46:11
that I would then be tasked with
00:46:12
actually embodying and I didn't know who
00:46:15
that artist was yet I would have I would
00:46:16
have been stunned you know so a lot of
00:46:17
it was just you know and listening to
00:46:20
this music from the but he would have
00:46:21
been listening to Johnny Cash or Elvis
00:46:22
or Little Richard or Buddy Holly and a
00:46:24
lot of listening to his music and going
00:46:26
and just feeling like a humble historian
00:46:28
or something just kind of walking that
00:46:30
path did you feel different when you
00:46:31
started than when you arrived back in
00:46:32
New York absolutely made some insecurity
00:46:35
had been solved some some curiosity and
00:46:38
also knowing people knowing the the
00:46:41
lawyer who helped them change his name
00:46:43
you know and getting anecdotes I'm not
00:46:45
going to share here but stuff that was
00:46:46
tremendously insightful stuff that
00:46:48
hasn't made its way online that
00:46:49
shouldn't make its way online but stuff
00:46:51
that was there were little clues that
00:46:53
drawing I just described to you seeing
00:46:55
his basement seeing how he grew up
00:46:56
seeing how confined his room was seeing
00:46:58
how it wasn't torturous it was a house
00:47:00
on a street not a bad not a bad street
00:47:04
amazing that this film is even being
00:47:05
made really because if you think about
00:47:07
how the lengths he went in order to stop
00:47:09
people from understanding what you went
00:47:11
and ultimately experienced the length to
00:47:14
which he just like the answers he would
00:47:16
give to interview questions that were
00:47:18
just so obscure and obtuse in order to
00:47:22
just say look you know he was he was the
00:47:23
best in the world of batting them away
00:47:24
cuz he's understood somewhere in a pure
00:47:27
artistic sense a lot of us don't it's
00:47:29
about what he made it's not about
00:47:30
anything else that is the least 2024
00:47:33
mentality of all time and in some
00:47:34
respects are you and I guess maybe you
00:47:36
can speak for James mangle the director
00:47:38
are you surprised that he is involved in
00:47:40
this film at all no because I don't
00:47:41
think word is Gospel to him in this in
00:47:43
other
00:47:44
words I think his experience the world
00:47:46
was so strange to be deified like that I
00:47:49
think this is another my guess is it's
00:47:52
another raindrop in the bucket of a
00:47:55
strange life of people trying to
00:47:56
interpret you or your words or your
00:47:58
songs so this so the idea of deification
00:48:01
right the idea
00:48:02
of having so much talent or having such
00:48:06
a gift or being open to some energy some
00:48:11
Muse some magic which is what I think
00:48:14
music and art ultimately stems from as
00:48:16
magic you know I've spent a long time
00:48:18
talking to artists who just tap in and
00:48:20
they don't know
00:48:21
why how does a person just like anybody
00:48:24
else process how the world is seeing
00:48:27
them through their talent absolutely and
00:48:31
when people want a piece of that is the
00:48:32
most conventional cliche but also when
00:48:34
it's really good and and people want a
00:48:36
slice of it and how do you how do you
00:48:38
protect whatever it is that makes it
00:48:40
good that's sort of the structure of the
00:48:41
movie too is he leaves Minnesota to get
00:48:43
away from I don't want to say what's
00:48:45
strangling him but feels like it's
00:48:47
holding him back goes to New York finds
00:48:49
a family the F community that then does
00:48:51
the exact same thing and tries to
00:48:53
strangle him and then he has to you know
00:48:56
break Break Free of that and then does
00:48:58
that the rest of his life you know in
00:49:00
dedication to his art no matter what
00:49:02
consequence it was to his personal life
00:49:04
not that I know of any but we don't
00:49:05
really know you know we don't know maybe
00:49:08
there like 20 films that could be made
00:49:09
about his life really this is going to
00:49:11
be such an interesting one has better
00:49:13
understanding what he went through at
00:49:16
least through the character that you're
00:49:17
playing the interpretation of it has it
00:49:20
changed you and how you're able to sort
00:49:22
of live your life ultimately and does
00:49:25
that happen often when you come out of
00:49:26
rols in particular way that's a real
00:49:27
life role yes here I I felt like I went
00:49:30
through a thing like Bob says at the end
00:49:32
of Don't Look Back I I feel like I went
00:49:33
through a thing and on the other side of
00:49:36
it is The Bravery to Don't Look Back you
00:49:38
know we look our culture now we look not
00:49:40
only do we look back we contextualize
00:49:42
the back the immediately immediately
00:49:43
what happens if you see somebody take a
00:49:44
picture and spend 10 minutes editing and
00:49:46
putting it back that's them
00:49:47
contextualizing what happened you know
00:49:49
unless you're the kind of the rare kind
00:49:50
of person that post takes a picture and
00:49:51
posts right which no one but but uh so
00:49:55
here I felt like I had The Bravery on on
00:49:56
the other side of it to I often ask
00:50:00
myself like what would Bob do you know
00:50:02
um uh that sounds so basic but it's just
00:50:05
a truth would we know yeah no but I mean
00:50:08
it in the sense that I'm I'm ignoring
00:50:09
what he would do by even being here CU
00:50:11
he would he would be on another planet
00:50:13
but just in my own in my own day-to-day
00:50:16
just Le leading with your artistic foot
00:50:18
first not in a pretentious sense but
00:50:20
just doing the stuff that really
00:50:22
challenges you who was I was an actor's
00:50:23
interview I was reading the other day
00:50:25
was it a waen phoenix interview
00:50:26
something where you always you just got
00:50:29
yeah it was it was a Vini interview but
00:50:30
you just got to always push yourself out
00:50:32
of your comfort zone and not be
00:50:34
complacent and man I can't say he he's
00:50:38
he his songs are like the songs of life
00:50:41
and it's they're you can't describe them
00:50:43
and so the if I got anything out of it
00:50:45
it was just the feeling of it you know
00:50:47
at a moment I needed it you know and it
00:50:49
was like a new Guiding Light to how I
00:50:51
want to feel when I work I'd love to do
00:50:53
more things like this that's for
00:50:55
sure e

Etiquetas

Timothy Chalamet
Bob Dylan
Acting
Music Influence
Theater
Artistic Journey
Cultural Impact