Post by Mary on Mar 4, 2013 11:15:36 GMT -5
Australian Broadcasting Corporation
TV PROGRAM TRANSCRIPT
LOCATION: www.abc.net.au/7.30/content/2005/s1468850.htm
Broadcast: 26/09/2005
Dylan documentary hailed as the greatest
Reporter: Peter Marshall
MAXINE McKEW: It's more than 40 years since Bob Dylan emerged from the folk clubs of Greenwich Village in New York to embark on a career that inspired, irritated and provided the soundtrack to a generation. This week, television audiences in America and in Britain will be treated to what's already being hailed as the greatest music documentary ever made. No Direction Home is the film biography of Dylan's first 25 years and it's been made by one of the world's great celebrated directors, Martin Scorsese. Peter Marshall from the BBC's Newsnight program has this sneak preview.
BOB DYLAN: It looked like any other town out of the '40s and '50s, just some rural town that was on the way to nowhere and you probably couldn't find it on a map.
PETER MARSHALL: Minnesota in the '50s, where the Jewish shopkeeper's son begins what he wryly terms "his musical expedition".
BOB DYLAN: Maybe three blocks one way and maybe three blocks the other way and that was like the main street where all the department stores were, the drug stores - that's about it, you know. I was born very far from where I'm supposed to be and so I'm on my way home.
PETER MARSHALL: Dylan's early influences were everywhere, and Scorsese duly trawls and deploys a comprehensive archive. Alighting on folk music, Dylan stole liberally.
TONY GLOVER: He was like a sponge, in a way, like pick up people's mannerisms, accents.
PETER MARSHALL: And then he discovered Woody Guthrie and the Dylan the world recognises was born.
BOB DYLAN: Woody Guthrie had a particular sound and, besides that, he said something to go along with his sound. That was highly unusual to my ears.
PETER MARSHALL: It was a voice he'd been searching for since high school.
DICK KANGAS, HIGH SCHOOL FRIEND: In May 1959, I recorded a tape for Bob Zimmerman. Bob was real excited to learn I had a tape-recorder and he wanted to know what he sounded like.
BOB DYLAN: The first girl that I remember liking me, her name was Gloria Story - Gloria Story, I mean, that was her real name. The second girlfriend was named Echo. That's pretty strange. I've never met anybody named Echo. Both these girls, by the way, brought out the poet in me.
Peter Marshall: So even when he was Zimmerman, the poet had a muse and in New York the muse was Suze Rotolo. She was a civil rights activist who was there when Dylan gave voice to a generation.
SUZE ROTOLO: That was an incredible time. A call would come in, people would say, "Oh my God, so-and-so was beaten to a pulp and so-and-so is in the hospital." It was insane. Why should this be happening? And I'm sure Bob had that same thing. You just can't live through this. You know, you live in your own little world and your own interests, but the outer world is definitely part of it.
DAVE VAN RONK: It's almost enough to make you believe in Jung's notion of collective unconscious. And if there is an American collective unconscious, if you could believe in something like that, that Bobby had somehow tapped into it and there were always these...sometimes very faint resonances.
LIAM CLANCY, FOLK SINGER: He articulated what the rest of us wanted to say but couldn't say.
BOB DYLAN: I can't self-analyse my own work. And I wasn't gonna cater to the crowd because I knew certain people would like it and certain people didn't like it. I had gotten in the door when no-one was looking, and I was in there now and there was nothing anybody from then on could ever do about it. An artist has got to be careful never really to arrive at a place where he thinks he's at somewhere. You always have to realise that you're constantly in a state of becoming, you know, and as long as you can stay in that realm, you'll sort of be all right.
PETER MARSHALL: While you could bill the documentary "When Bobby Met Marty", the surprise is they didn't actually do that. Scorsese didn't do the interviews with Dylan.
ANTHONY WALL, EDITOR, 'ARENA' BBC TV: What intrigued him was that he would have access to this massive archive of Dylan performance, including 60 hours, almost all of it unseen, of the '66 tour of the UK, the notorious tour where he was jeered for going electric. He started off as a film editor, as a director who was fascinated by the way you put the story together, but with the proviso that Dylan surrender to him final cut, which is an amazing thing for Dylan to do, and I can't think of anybody else that he would've done that for. And Scorsese reserved the right to talk to anybody he liked, including Dylan, and that was part of the arrangement, if he felt the material that he had at his disposal wasn't sufficient.
PETER MARSHALL: As a million Dylan freaks know and can now view close-up in colour, he's touring the UK in '66 and matters are coming to a head. The folk fans don't like the beat group.
FAN #1: He's just changed altogether. He's changed from what he was. He's not the same as what he was at first.
FAN #2: Nearly makes you sick listening to this rubbish now.
FAN #3: Bob Dylan was a bastard in the second half.
PETER MARSHALL: Behind the scenes, Dylan's wired, running on amphetamine and about to crash.
BOB DYLAN: I think I'm gonna get me a new Bob Dylan next week, get me a new Bob Dylan and use him - use the new Bob Dylan, see how long he lasts.
INTERVIEWER: (inaudible)...when you come back?
BOB DYLAN: I don't know. I just wanna go home.
PETER MARSHALL: It's to be his last tour for eight years, but before he leaves, exhausted, there's the incident in Manchester where an audience who don't understand meet an artist determined never to look back.
BOB DYLAN: There he is - back from the grave. Straight from the grave.
(Visuals of Bob Dylan on stage at Manchester concert).
AUDIENCE MEMBER YELLS: Judas!
BOB DYLAN: I don't believe you. (Strums guitar) You're a liar. (Sings)
MAXINE McKEW: It's three-and-a-half hours long, I'm told, no doubt we'll see the DVD soon. That report from the BBC's Peter Marshall. And that's the program for tonight - we'll be back at the same time tomorrow, but for now, goodnight.
TV PROGRAM TRANSCRIPT
LOCATION: www.abc.net.au/7.30/content/2005/s1468850.htm
Broadcast: 26/09/2005
Dylan documentary hailed as the greatest
Reporter: Peter Marshall
MAXINE McKEW: It's more than 40 years since Bob Dylan emerged from the folk clubs of Greenwich Village in New York to embark on a career that inspired, irritated and provided the soundtrack to a generation. This week, television audiences in America and in Britain will be treated to what's already being hailed as the greatest music documentary ever made. No Direction Home is the film biography of Dylan's first 25 years and it's been made by one of the world's great celebrated directors, Martin Scorsese. Peter Marshall from the BBC's Newsnight program has this sneak preview.
BOB DYLAN: It looked like any other town out of the '40s and '50s, just some rural town that was on the way to nowhere and you probably couldn't find it on a map.
PETER MARSHALL: Minnesota in the '50s, where the Jewish shopkeeper's son begins what he wryly terms "his musical expedition".
BOB DYLAN: Maybe three blocks one way and maybe three blocks the other way and that was like the main street where all the department stores were, the drug stores - that's about it, you know. I was born very far from where I'm supposed to be and so I'm on my way home.
PETER MARSHALL: Dylan's early influences were everywhere, and Scorsese duly trawls and deploys a comprehensive archive. Alighting on folk music, Dylan stole liberally.
TONY GLOVER: He was like a sponge, in a way, like pick up people's mannerisms, accents.
PETER MARSHALL: And then he discovered Woody Guthrie and the Dylan the world recognises was born.
BOB DYLAN: Woody Guthrie had a particular sound and, besides that, he said something to go along with his sound. That was highly unusual to my ears.
PETER MARSHALL: It was a voice he'd been searching for since high school.
DICK KANGAS, HIGH SCHOOL FRIEND: In May 1959, I recorded a tape for Bob Zimmerman. Bob was real excited to learn I had a tape-recorder and he wanted to know what he sounded like.
BOB DYLAN: The first girl that I remember liking me, her name was Gloria Story - Gloria Story, I mean, that was her real name. The second girlfriend was named Echo. That's pretty strange. I've never met anybody named Echo. Both these girls, by the way, brought out the poet in me.
Peter Marshall: So even when he was Zimmerman, the poet had a muse and in New York the muse was Suze Rotolo. She was a civil rights activist who was there when Dylan gave voice to a generation.
SUZE ROTOLO: That was an incredible time. A call would come in, people would say, "Oh my God, so-and-so was beaten to a pulp and so-and-so is in the hospital." It was insane. Why should this be happening? And I'm sure Bob had that same thing. You just can't live through this. You know, you live in your own little world and your own interests, but the outer world is definitely part of it.
DAVE VAN RONK: It's almost enough to make you believe in Jung's notion of collective unconscious. And if there is an American collective unconscious, if you could believe in something like that, that Bobby had somehow tapped into it and there were always these...sometimes very faint resonances.
LIAM CLANCY, FOLK SINGER: He articulated what the rest of us wanted to say but couldn't say.
BOB DYLAN: I can't self-analyse my own work. And I wasn't gonna cater to the crowd because I knew certain people would like it and certain people didn't like it. I had gotten in the door when no-one was looking, and I was in there now and there was nothing anybody from then on could ever do about it. An artist has got to be careful never really to arrive at a place where he thinks he's at somewhere. You always have to realise that you're constantly in a state of becoming, you know, and as long as you can stay in that realm, you'll sort of be all right.
PETER MARSHALL: While you could bill the documentary "When Bobby Met Marty", the surprise is they didn't actually do that. Scorsese didn't do the interviews with Dylan.
ANTHONY WALL, EDITOR, 'ARENA' BBC TV: What intrigued him was that he would have access to this massive archive of Dylan performance, including 60 hours, almost all of it unseen, of the '66 tour of the UK, the notorious tour where he was jeered for going electric. He started off as a film editor, as a director who was fascinated by the way you put the story together, but with the proviso that Dylan surrender to him final cut, which is an amazing thing for Dylan to do, and I can't think of anybody else that he would've done that for. And Scorsese reserved the right to talk to anybody he liked, including Dylan, and that was part of the arrangement, if he felt the material that he had at his disposal wasn't sufficient.
PETER MARSHALL: As a million Dylan freaks know and can now view close-up in colour, he's touring the UK in '66 and matters are coming to a head. The folk fans don't like the beat group.
FAN #1: He's just changed altogether. He's changed from what he was. He's not the same as what he was at first.
FAN #2: Nearly makes you sick listening to this rubbish now.
FAN #3: Bob Dylan was a bastard in the second half.
PETER MARSHALL: Behind the scenes, Dylan's wired, running on amphetamine and about to crash.
BOB DYLAN: I think I'm gonna get me a new Bob Dylan next week, get me a new Bob Dylan and use him - use the new Bob Dylan, see how long he lasts.
INTERVIEWER: (inaudible)...when you come back?
BOB DYLAN: I don't know. I just wanna go home.
PETER MARSHALL: It's to be his last tour for eight years, but before he leaves, exhausted, there's the incident in Manchester where an audience who don't understand meet an artist determined never to look back.
BOB DYLAN: There he is - back from the grave. Straight from the grave.
(Visuals of Bob Dylan on stage at Manchester concert).
AUDIENCE MEMBER YELLS: Judas!
BOB DYLAN: I don't believe you. (Strums guitar) You're a liar. (Sings)
MAXINE McKEW: It's three-and-a-half hours long, I'm told, no doubt we'll see the DVD soon. That report from the BBC's Peter Marshall. And that's the program for tonight - we'll be back at the same time tomorrow, but for now, goodnight.