A Complete Unknown
A Complete Unknowntells the story of a new Bob Dylan and his rise to celebrity in the early to mid-1960s . His journeying to find himself , and his artistry , culminates in a difficult decision during the 1965 Newport Folk Festival . The film also showcases the impact that Dylan ’s music had at the time , and how his influence is still relevant today .
Timothée Chalamet superstar and sings as Bob Dylanin James Mangold’sA Complete Unknown . His live performances were captured , rather than have him pre - record the tracks and rim - sync . This lend a sure authenticity to the film that brings it to a whole new grade . A Complete Unknowncomes to theaters on December 25 .
join Timothée Chalamet ’s Bob Dylan in the biographical picture , A Complete Unknown , are various other gifted stars . This is who they ’ll be play .
A Complete Unknown Is Made More For Newcomers To Bob Dylan Than Fans
“The people that love Bob Dylan will go see it anyway, and the people that are curious will get a big kick out of it.”
ScreenRant : I did not get laid much about Bob Dylan going into this flick , but was capture by it . Were you sports fan of Bob Dylan before signing onto A Complete Unknown ?
Paul Massey : I was conversant with him , but I was n’t a vast raving fan , that ’s for sure .
Donald Syvester : I would go with that too . I think of , I knew all the birdcall , but I did n’t do it the story of Bob Dylan . And to be honest , I think we made the movie for people like you because the people that bonk Bob Dylan will go see it anyway , and the people that are curious will get a big kick out of it .
Custom image by Yailin Chacon
Both James Mangold & Timothée Chalamet Had A Vision For A Complete Unknown
“Every day you went to work, and you felt like you were really recording something special and a piece of history.”
ScreenRant : Can you guy talk about the collaboration between all of you , and then , as well , with James Mangold ?
Tod Maitland : I had the first crack with Jim . Jim is a unparalleled character . He is strong . He knows what he wants . He had a great vision to do this . Timmy knew on the nose what he wanted also . So hold up into it , we really went into it , as I said before , like we were go to record an record album . Every twenty-four hour period you went to work , and you felt like you were really recording something special and a opus of history .
Since most of this movie is 98 % lively medicine , and there ’s so many medicine pieces in it , it is a music - drive film without any distraction from anything else . It is 100 % about the music and the fictional character , and they both mesh together so well , and just great artistry all the path around .
A Complete Unknown is a biographical movie that follows a young Bob Dylan as he integrates with New York and catches the eye of the folk singers in the area, eventually propelling him into stardom.
The whole entire crowd just did an amazing job . Everybody bed what they were make . It was not an loose celluloid by any substance . But when you get on something , and you know that it ’s great , your heart is there . You give 110 % , and I recall that ’s what everyone did on this film .
Paul Massey : Jim ’s films are very character driven , very story drive , and for Don , Ted and I , who have figure out with him several time in the past times , we sleep with that it ’s go to be an exciting drive , because no matter how you think it ’s go to turn out in face value , Jim is live on to explore every single little crevice , and he ’ll take you on a different account arc from what maybe you were thinking having read the book . It ’s heavy fun working with Jim .
Ted Caplan : We , Don and I and Paul have worked a tenacious metre . Don and I work in the building with Jim , and we do work with a lot of the same people over and over . I would say on this movie , it all came together because every once while , we ’re all doing each other ’s jobs for a little spot . Don ’s draw some music . I ’m swerve a feedback line . Our editor program is doing vocal assembly line . I ’m in the cut elbow room .
Not that everyone ’s doing everything , but we have such a squad that has worked together and communicates well and is up for any challenge . And Jim does n’t care what your job is . He just want you to do whatever he ’s asking at the import . And that could be anything , and we ’re all plot for it . Because every Clarence Day you come in in , you ’re like , what am I going to be doing today ? It ’s a real challenge .
Donald Sylvester : Also , Jim ’s extremely meticulous . So if there ’s a moment in the film which you have n’t address , even for a half a second , he will address it for you . He ’ll secernate you there ’s something miss in this dead space . And you could fend for yourself by pronounce , Well , is n’t there somebody inspire at this moment ?
But no , it ’s really , why do n’t we hear more backgrounds ? Why do n’t we try more crowds ? Why do n’t we get word more of this , more of that ? Why do n’t we hear a young idea , and it ’s like you got it ? Yep , that ’s what we ’ll do . And we end up doing it . As we go through the plastic film , there become fewer and fewer of these holes , until we get to the very remnant , and we think we ’ve get them all , and then he ’ll find another one .
Capturing The Live Performances Was A Challenge, But Worth It
“You’ll find a lot of these scenes, they’re just singing with their guitars, and there’s nothing else going on.”
ScreenRant : Can you verbalize about put down these musical performance populate ?
Ted Caplan : Tod was able-bodied to captivate they ’re singing on Seth . So , you see that first call , Timmy is singing to Pete Seeger and Woody Guthrie . And that ’s Timmy and his guitar . And Tod ’s in there with a caboodle of mics , making sure we get every shade and every little item . We ’re thankful that Timmy could do that , and Monica , all of them .
It ’s just kind of amazing that the motion-picture show work . But it ’s also a testament to just being really there . You ’re witnessing something . You ’re not just watching a refreshment , you ’re witnessing something go down .
ScreenRant : Oh , they recorded on set . I think I take they pre - recorded .
Donald Sylvester : We had to ensure we get out of the way of that in terms of add up sounds in . A heap of multiplication you slash up the soundtrack , you put a lot of sound effects , thing like that , but you ’ll find a lot of these scenes , they ’re just singing with their guitars , and there ’s nothing else going on . And that ’s by design , because we do n’t want to really step on any of the carrying into action . We will augment the background and things like that , but we expose them as much as we can .
Ted Caplan : One of those great minute is when Monica is peach " House of the wax Sun , " and she finish playing , and she rend a mic by , and that is her in the way singing to that mathematical group . It has a certain tingle ingredient to it that I do n’t sleep together that we could have achieved if it was just a re - record , right ?
Tod Maitland : Yeah , so much of this was about , again , creating that legitimacy . And also blend in back to what you said before about the collaboration , one of the things that I always strain to do , and particularly on this flick , is to give my post partners as much material as possible to work with . So I ’ll employ as many mics as I possibly can . So just for that little scene where he ’s singing the Woody Guthrie , we had five microphone .
I had Timmy wired in his hair , because the way he holds his guitar is so high up on his body , there ’s no way to get a mic on him . Then we would have a godsend underneath , a boom overhead , an ambient mic , and then mics on the other thespian at the same prison term . So much of it really come down to making technique . And we used , I believe , 45 hard-nosed menses microphone . We used different ones in each venue to create more of a arras of sound so that they were a little bit different for each venue .
We worked with the doer for their on mic front , and just endeavor to keep a continuity as they were blab live , and they would maintain what a professional singer would be , because Bob was a professional singer at that point , and plus we were amplifying everything out to the consultation . So anything that had an hearing , we had amplified talker go out to those , and then I ’d be capturing that amplified sound , plus all of the strait coming from the consultation .
There are points where they sing along , they ’re spat , when they ’re yelling at them at the last , all those moments . My guys , Jerry and Terence , they are rattling at putting out microphones . They ’ll see something , and we have six microphone that we keep just for ambiance , and they ’re ready to go . We just deploy them out like lilliputian sound hand grenades , just to capture whatever is bump at each different spot .
Everything really was live , and that was Jim ’s way of working with this whole thing . And we can sing about the Cuban Missile Crisis , where on curing we really created that energy on circle , all of the sound , from citizenry panicking through the televisions that you hear in the different arena , and all that . We yield it to the player on set , and then it was up to everybody here to kind of pull it back out , reconstruct it and create what you see .
The 1965 Folk Festival Musical Performance Had A Lot Of Sound To Capture
“What is it you’re trying to say in the scene, or in the song, or the emotion of Bob and his rebellious nature?”
ScreenRant : That final functioning is so disorderly . With masses screaming and throwing thing . Was that the most thought-provoking scene ?
Ted Caplan : Oh , that was easy , correct ?
Paul Massey : That was really easy . Yeah , no . There was an awful portion there . And obviously you have to strip it down to what are the requisite ? What is it you ’re trying to say in the scene , or in the call , or the emotion of Bob and his ill-affected nature in Newport ' 65 when he exit electrical . So undress it down to those elements . ensure those are shining , and then you could start adding back in and sweetening .
A quite a little of what Tod is babble out about , where he had recorded a lot of ambient mics and such , if we could n’t particularly use all of those because of technological reasons or noises or whatever , we for certain use them as a guide and a origination for what we were go away to dulcorate and add . Specifically with crowd and things like that during that concert .
But it all arrive down to really is what do you want to highlight , and what do you need to maintain as being substantial during those loud sequences , those busy sequences . Strip out reasonably much everything else that does n’t need to be there or take it to a level where it can make the star beam .
More About A Complete Unknown (2024)
New York , 1961 . Against the backcloth of a vivacious music scene and tumultuous cultural upheaval , an enigmatic 19 - twelvemonth - old from Minnesota arrives with his guitar and rotatory talent , destined to transfer the course of American music . He forge intimate relationship with music icons of Greenwich Village on his meteoric rise , culminate in a innovational and controversial functioning that reverberates worldwide . Timothée Chalamet stars and sings as Bob Dylan in James Mangold ’s A COMPLETE UNKNOWN , the electric true story behind the raise of one of the most iconic singer - ballad maker in history .
Check out our otherA Complete Unknowninterviews here :
A Complete Unknowncomes to theaters on December 25 .
Your Rating
Your comment has not been deliver
Cast
A Complete Unknown is a biographical moving picture that follow a untested Bob Dylan as he integrates with New York and catches the eye of the folk singers in the region , eventually propel him into stardom .
