In his first Rolling Stone cover story, the actor and co-stars Elle Fanning, Monica Barbaro, and Ed Norton talk about making the year's biggest biopic
e’s traveling through the north country today. Eighty miles from Canada, where the winds, it’s been said, hit heavy on the borderline. As his rented Toyota pickup truck reaches a tree-shaded suburban intersection, he kills the engine and bounds out into late-January air. He’s layered a down jacket over a gray sweatshirt, the hood yanked over his mussed brown hair. His destination is a boxy, cream-colored little house on the corner, down a walkway framed by twin shrubs.
Dylan was manifesting his actual future in the Greenwich Village folk scene, not to mention the eventual plot of an awards-season Hollywood biopic that would attract a generational heartthrob more than 60 years later. In January 1961, in a moment vividly reenacted, with some light fictionalization, inDylan found Guthrie at the New Jersey hospital where he was being treated for Huntington’s disease. The upstart took out his guitar, and sang for his hero.
In that map, and his entire time in Minnesota, Chalamet also starts to see something in Dylan he recognizes, a feeling he’s not afraid to acknowledge he once had himself: “You’re connected to destiny. But that connection is fragile.”imothée Chalamet doesn’t look anything like Bob Dylan right now. Here in New York, in the last days of August, he barely looks like Timothée Chalamet.
in an emailed list of potential projects, before Mangold was attached. At that point, Chalamet had a fairly vague idea of Dylan as a distant figure music fans were obligated to revere, an artist beloved by a childhood friend’s dad. Initially, Chalamet simply liked Dylan’s look. “On a quick Google, there was something behind the eyes, you know?”
“I went home and I wept that night. This was a song I’d been living with forever, and we brought it to life.”are hoping the movie births a whole new generation of Dylan aficionados, and believe it or not, there are already some Bob-is-babygirl Gen Z stans on the social media fringes. But Fanning, 26, was way ahead of them.
Even though the character is renamed Sylvie Russo, her arc is one of the least fictionalized in the film — a scene where she challenges Dylan on his name change and secrecy matches Rotolo’s accounts in her 2008 memoir,Dylan personally added a line to the screenplay for his character during one of their fights. “It was something like, ‘Don’t even bother coming back,’” Fanning says.
Chalamet says he learned how to set a tone on set from his former co-stars. “The great actors I’ve worked with, Christian Bale on” — Bale, in his younger days, infamously took umbrage at distractions from his work — “or Oscar Isaac onwere able to do that,” he says, “and guard their process, particularly for something that’s really like a tightrope walk.
Barbaro felt almost guilty about taking part in relegating a legendary artist to a love-interest role, however artfully portrayed. “Her life is so much more significant than just the part it played in Bob’s life,” Barbaro says. “She deserves her own biopic, limited series, whatever.” Baez herself helped Barbaro get over it. “At one point, she was like, ‘I’m just in my garden, looking at birds.’… I was like, ‘Oh, yeah, you don’t live or die by what this movie says about you.
But let it be known that Norton did fuck up his teeth for real, allowing a dentist do something unfortunate to his mouth to approximate Seeger’s crooked smile. And he did shave his hairline back, and did translate his extant guitar skills to the banjo as best as possible in two months, though there’s inevitably some trickery on the harder parts. And he did manage, as much as Chalamet did with Dylan, an eerie replica of Seeger’s real voice.
“Every single person I talked to who was there, like literally there at the moment, said that Pete blew a gasket at a level they had rarely seen,” Norton says. Even the movie doesn’t dare include the clearly apocryphal tale that Seeger grabbed an ax to literally cut off the power, but it does nod to the fact that there were axes nearby, thanks to a work-song performance that day.
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