Inside 'A Complete Unknown': How Timothée Chalamet Became Bob Dylan

🌈 Abstract

The article discusses the upcoming Bob Dylan biopic "A Complete Unknown" directed by James Mangold, focusing on the process behind the film, Timothée Chalamet's performance as Dylan, and Mangold's approach to depicting Dylan's life and legacy.

🙋 Q&A

[01] Inside 'A Complete Unknown': How Timothée Chalamet Became Bob Dylan

1. What is Mangold's approach to depicting Bob Dylan in the film, and why does he see it as an "ensemble piece" rather than a traditional biopic?

• Mangold did not want to reduce Dylan to a simple character with a simple thing to unlock, as he believes that is not possible given the complexity of Dylan's life and persona.
• Instead, Mangold is more interested in exploring the "wake" that Dylan has left on others, and how different characters in Dylan's life serve as "prisms and keyholes" to different aspects of who he is.
• Mangold sees the film as a strong ensemble piece that follows Dylan but also significantly features the perspectives of other key figures in his life, such as Elle Fanning's character Sylvie Russo (based on Dylan's real-life girlfriend Suze Rotolo), Edward Norton's character Pete Seeger, and Monica Barbaro's character Joan Baez.

2. How did Mangold approach the challenge of Timothée Chalamet portraying the iconic voice and mannerisms of Bob Dylan?

• Mangold did not want a precise replication of Dylan, as he believes that is neither possible nor the goal. Instead, he wanted Chalamet to find the parallel aspects between himself and the character, and apply the outward affectations without losing what is special about Chalamet himself.
• There were moments where Chalamet's performance felt "miraculous" and channeled the essence of Dylan, but Mangold also worked with him to ensure he didn't drift too far into mimicry and maintained a balance between Chalamet and the character.

3. How did Mangold handle the character of Sylvie Russo (based on Suze Rotolo) and her relationship with Dylan?

• Mangold chose to use a fictionalized name for the character to avoid subjecting Rotolo's real name to the same level of public spotlight as the other more famous figures in the film.
• Mangold felt it was important to have a character who was not a celebrity or public figure, and to portray the "purity of love" that existed between Dylan and this character in the early stages of his career, before he became a major public figure.
• Mangold indicates that Bob Dylan was protective of Rotolo's memory and did not want her real name used in the film.

[02] Bringing the Music to Life

1. How did Mangold approach incorporating the live musical performances into the film?

• Mangold decided to use the actors' live performances from the shoot as the music in the movie, rather than relying on pre-recorded tracks or overdubbing.
• This was a high-stakes decision, but Mangold wanted everyone to be putting everything on the line in their performances, without the safety net of being able to fix mistakes in post-production.
• The extended preparation time, especially for Chalamet and Barbaro, allowed them to really develop as musicians and feel comfortable performing live for the film.

2. What role does Joan Baez's character play in the film, and how does her relationship with Dylan evolve?

• Baez is one of the main characters in the film, with an "intense and instantaneous fascination and attraction" with the young Dylan when he arrives on the scene.
• Their relationship has both warm and fiery sparks, as Baez represents an established figure in folk music who has a different approach and comfort level with performing compared to the more seat-of-his-pants Dylan.

[03] Balancing Fact and Fiction

1. How does Mangold approach the balance between historical accuracy and dramatic license in the film?

• Mangold acknowledges that there are contradictions between the various books and accounts of Dylan's life, so he has had to "walk his own line" in terms of what to include.
• He has relied heavily on research, interviews with Dylan, and physical documentation from the time period to try to be as accurate as possible with the development of Dylan's songs, studio time, etc.
• However, Mangold is more concerned with being true to the "feelings and things happening" rather than strict adherence to dates or other minor details.

2. How does Mangold respond to potential criticism from Dylan experts about historical inaccuracies in the film?

• Mangold is not overly concerned about potential criticism from Dylan experts, as he believes they may actually find joy in discovering small inaccuracies or creative liberties taken in the film.
• He indicates that he is not simply inventing complete contradictions to reality, but rather trying to put events in an order that works dramatically while still being true to the overall trajectory of what happened.
• Mangold suggests that as long as he is being true to the "feelings and things happening" as they did, he is less concerned about precise historical details.