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"American Masters: No Direction Home: Bob Dylan (#19.7)"
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"American Masters" No Direction Home: Bob Dylan (2005)

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American Masters: Season 19: Episode 7 -- He is one of the most influential, inspirational and ground-breaking musicians of our time. Now, Academy Award-nominated director Martin Scorsese (Goodfellas, 1990) brings us the extraordinary story of Bob Dylan's journey from his roots in Minnesota, to his early days in the coffee houses of Greenwich Village, to his tumultuous ascent to pop stardom in 1966.
No Direction Home: Bob Dylan: Season 19: Episode 7 -- A chronicle of Bob Dylan's strange evolution between 1961 and 1966 from folk singer to protest singer to "voice of a generation" to rock star.


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View company contact information for No Direction Home: Bob Dylan on IMDbPro.
Original Air Date:
3 September 2005 (Season 19, Episode 7)
A chronicle of Bob Dylan's strange evolution between 1961 and 1966 from folk singer to protest singer to "voice of a generation" to rock star. Full summary » | Add synopsis »
Won Primetime Emmy. Another 5 wins & 7 nominations See more »
User Reviews:
Foggy Ruins of Time See more (66 total) »


 (Episode Cast) (in credits order)

Bob Dylan ... Himself
B.J. Rolfzen ... Himself (voice)
Dick Kangas ... Himself
Liam Clancy ... Himself
Tony Glover ... Himself
Paul Nelson ... Himself

Allen Ginsberg ... Himself (archive footage)
Dave Van Ronk ... Himself (archive footage)
Maria Muldaur ... Herself
John Cohen ... Himself
Bruce Langhorne ... Himself
Mark Spoelstra ... Himself
Suze Rotolo ... Herself
Izzy Young ... Himself

Mitch Miller ... Himself
John Hammond ... Himself

Pete Seeger ... Himself

Mavis Staples ... Herself
Artie Mogull ... Himself
Harold Leventhal ... Himself

Joan Baez ... Herself

Peter Yarrow ... Himself
Bob Neuwirth ... Himself (as Bobby Neuwirth)

D.A. Pennebaker ... Himself
Al Kooper ... Himself
Bob Johnston ... Himself

Mickey Jones ... Himself
rest of cast listed alphabetically:

Johnny Cash ... Himself (archive footage)
Rick Danko ... Himself (archive footage)

Ossie Davis ... Himself (archive footage)
Lamar Fike ... Himself
Woody Guthrie ... Himself (archive footage)
Carolyn Hester ... Herself
Garth Hudson ... Himself (archive footage)

John F. Kennedy ... Himself (archive footage)

Martin Luther King ... Himself (archive footage)
Richard Manuel ... Himself (archive footage)
Greil Marcus ... Himself
Christopher Ricks ... Himself

Robbie Robertson ... Himself (archive footage)
Manny Roth ... Himself
Roy Silver ... Himself
Sean Wilentz ... Himself

Martin Scorsese ... Himself (voice) (uncredited)

Episode Crew
Directed by
Martin Scorsese 
Produced by
Jody Allen .... executive producer (as Jody Patton)
Paul G. Allen .... executive producer
Margaret Bodde .... co-producer
Barbara De Fina .... executive producer
Guy East .... co-executive producer: UK
Chelsea Hoffman .... associate producer
Susan Lacy .... executive producer
Susan Lacy .... producer
Tia Lessin .... line producer
Jessica Levin .... line producer (as Jessica Cohen)
Gub Neal .... co-executive producer: UK
Jeff Rosen .... executive producer
Jeff Rosen .... producer
Martin Scorsese .... producer
Nigel Sinclair .... executive producer
Nigel Sinclair .... producer
Justin Thomson-Glover .... co-executive producer: UK
Anthony Wall .... executive producer
Anthony Wall .... producer
Cinematography by
Maryse Alberti 
Mustapha Barat (director of photography)
Oliver Bokelberg 
Anghel Decca 
Ken Druckerman 
Ellen Kuras 
James J. Miller  (as James Miller)
James Reed 
Lisa Rinzler 
Michael Alan Spiller  (as Mike Spiller)
Film Editing by
David Tedeschi 
Makeup Department
Kris Ravetto .... makeup artist: Joan Baez
Production Management
Diane Lapson .... production manager
Ellen Pittleman .... executive in charge of production
Lynne Okin Sheridan .... production manager
Debbie Sweeney .... production manager
Art Department
Mark Pollard .... graphic artist
Sound Department
Dave Bihldorff .... sound re-recordist
Chris Fielder .... assistant sound editor
Tom Fleischman .... sound re-recording mixer
Michael Keenan .... sound recordist (as Mike Keenan)
Mark Mandler .... sound recordist
Fred Rosenberg .... dialogue editor (as Frederic Rosenberg)
Philip Stockton .... supervising sound editor
Allan Zaleski .... sound effects editor
Camera and Electrical Department
Eve Arnold .... still photographer
Dennis Brack .... still photographer
John Cohen .... still photographer
John Byrne Cooke .... still photographer
Jerome Corwin .... still photographer
Robert Corwin .... still photographer
Joseph Czerw .... key grip
Paul Daley .... gaffer
Bruce Davidson .... still photographer
Elliott Erwitt .... still photographer
Jan Faul .... still photographer
Barry Feinstein .... still photographer
Stephen Fenerjian .... still photographer
Larry Fink .... still photographer
Nat Finkelstein .... still photographer
David Gahr .... still photographer
Howard Gelb .... still photographer
Douglas R. Gilbert .... still photographer
Burt Glinn .... still photographer
Irwin Gooen .... still photographer
Ed Grazda .... still photographer
Miguel Grinberg .... still photographer
Bertil Hagert .... still photographer
Tom Halstead .... still photographer
Mickey Jones .... still photographer
Mark Kitchell .... still photographer
Daniel Kramer .... still photographer
Danny Lyon .... still photographer
J. Fred MacDonald .... still photographer
Mark Makin .... still photographer
Jim Marshall .... still photographer
Jerry Melrose .... still photographer
Artie Mogull .... still photographer
Alice Ochs .... still photographer
John Orris .... still photographer
Bill Pagel .... still photographer
Bob Parent .... still photographer
George Pickow .... still photographer
Aaron Rennert .... still photographer
Ted Russell .... still photographer
Jerry Schatzberg .... still photographer
Vernon Smith .... still photographer
Norman Vershay .... still photographer
Animation Department
Benjamin Murray .... stills animator
Editorial Department
Brian Batchett .... on-line editing assistant
Justin Krohn .... assistant editor
Benjamin Murray .... on-line editor
Jason Nu .... assistant editor
Scot Olive .... colorist (as Scott Olive)
Damián Rodríguez .... associate editor
Mara Wollong .... assistant editor
Music Department
Robert Bower .... music researcher
Michael Brauer .... music pre-mix
Jennifer L. Dunnington .... music editor (as Jennifer Dunnington)
Annette Kudrak .... music editor
Diane Lapson .... music clearance
Lynne Okin Sheridan .... music clearance
Debbie Sweeney .... music clearance
Other crew
Graham Baquie .... technical supporter
Alison Beckell .... production assistant
Alison Beckett .... production assistant
Joe Beirne .... technical supervisor
Bonnie Benjamin-Phariss .... director: Documentary Productions
Mitch Blank .... hypnotist collector
Kate Blyth .... representative: Vulcan Productions
Michael B. Borofsky .... interview producer
Michael B. Borofsky .... interviews
Andrew Bottomley .... representative: Sikelia Productions
Marianne Bower .... representative: Sikelia Productions
Justin Brennan .... representative: Sikelia Productions
Scott Brock .... representative: Sikelia Productions
Alexander Yves Brunner .... production executive
Alexander Yves Brunner .... representative: Spitfire Productions (as Alex Brunner)
Jane Buckwalter .... project manager
Erin Crackel .... representative: Sikelia Productions
Joanna Davis .... intern
Raffaele Donato .... representative: Sikelia Productions
Richard Dworkin .... transcriptions
Tom Foligno .... representative: Sikelia Productions
Prudence Glass .... representative: American Masters
April Hayes .... photo researcher
Joseph Helmreich .... intern
Joel Hirsch .... representative: Sikelia Productions
Daniel Hoffman .... representative: Sikelia Productions
Ben Holden .... representative: Spitfire Productions
Jason J. Hunke .... representative: Vulcan Productions
Kent Jones .... representative: Sikelia Productions
Lewanne Jones .... additional researcher
Nicole London .... production coordinator
Meg McCarthy .... assistant: Martin Scorsese
Meg McCarthy .... representative: Sikelia Productions
Richard McCarthy .... intern
Mark McElhatten .... research consultant
Freida Orange .... representative: Sikelia Productions
Matthew Paine .... representative: Spitfire Productions
Stephanie Palumbo .... production assistant
Elizabeth Parks .... intern
Nigel Pearson .... business affairs
Dan Porcelli .... technical supporter
Anthony Ripoli .... technical supporter
Ranfi Rivera .... business affairs
Pamela Rosenstein .... representative: Vulcan Productions
Adam Rubin .... intern
Julie Sacks .... representative: American Masters
Matthew Schneider .... technical supporter
Barry Schulman .... representative: American Masters
Eric Schwinn .... IT supporter
Jennifer Senkler .... representative: Vulcan Productions
Anne Sicherman .... intern
Anne Slick .... production assistant
Margaret Smilow .... representative: American Masters
Anthony Stewart .... representative: George Square Trading
Emma Tillinger Koskoff .... assistant: Martin Scorsese (as Emma Tillinger)
Andrew Wright .... additional researcher
Stephen Zager .... business affairs
Tobin Armbrust .... special thanks
Oscar Brand .... special thanks
Pip Chodorov .... special thanks
Jay Cocks .... special thanks
Ron Cohen .... special thanks
Don Fleming .... special thanks
Eddie Gorodetsky .... special thanks
Peter Guralnick .... special thanks
Nora Guthrie .... special thanks
Mark Kitchell .... special thanks
Eric Kulberg .... special thanks
Walker Lamond .... special thanks
Murray Lerner .... the director and producers wish to thank: The Following filmmakers for thier extraordinary contribution
Lexy Lovell .... special thanks
Odetta .... special thanks
D.A. Pennebaker .... the director and producers wish to thank: The Following filmmakers for thier extraordinary contribution
Frazer Pennebaker .... special thanks
Michael Perlstein .... special thanks
Robbie Robertson .... special thanks
Morley Safer .... special thanks
Thelma Schoonmaker .... special thanks
John Sloss .... special thanks
Mark Spector .... special thanks
Andy Warhol .... the director and producers wish to thank: The Following filmmakers for thier extraordinary contribution
Brian Wilson .... special thanks
Rick Yorn .... special thanks

Series Crew
These people are regular crew members. Were they in this episode?
Writing credits
(in alphabetical order)
Susan Lacy  creator: American Masters

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
208 min (DVD) | Finland:205 min (2 part TV-miniseries) | Canada:201 min (Toronto International Film Festival) | Argentina:208 min
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Martin Scorsese never met or discussed the film with Bob Dylan during filming. However he worked extensively with him during the filming of The Last Waltz (1978).See more »
Factual errors: When A&R man John Hammond is introduced, Billie Holiday, whom Hammond signed to Columbia Records, is heard singing the anti-lynching protest song "Strange Fruit." In truth, Hammond did not allow Holiday to record "Strange Fruit" for Columbia; she recorded the song for Milt Gabler's Commodore Records instead.See more »
Allen Ginsberg:There is a very famous saying among Tibetan Buddhists: "If the student is not better than the teacher, then the teacher is a failure."
Allen Ginsberg:It's sort of a biblical prophecy.
Allen Ginsberg:Poetry is words that are empowered to make your hair stand on end, that you realize instantly as being some form of subjective truth that has an objective reality to it, because somebody has realized it. Then you call it poetry later.
See more »
Movie Connections:
Features The Wild One (1953)See more »
Chimes of FreedomSee more »


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30 out of 46 people found the following review useful.
Foggy Ruins of Time, 11 December 2005
Author: tedg ( from Virginia Beach

There's good about this. It is extremely well done. It is endowed with a breath as film, and I suppose we can credit Steve Jobs with assuring that only first class talent was used. Among that talent was Scorsese, a master, certainly in the act of shaping something with a natural rhythm.

That competence makes this absolutely essential viewing. I am not putting it on my essential films list because as a film it doesn't merit it. But if you, dear reader, were not there, actually there as part of the events depicted, you need to see this as a social document. The world then was as different to now in the flows of energy than any other time in the past 500 years is from now,

And this man was every bit as powerful as this hints. More, and that's part of the problem.

The problem is that Scorsese decided to make an understandable story. So he pruned and pruned and pruned until what was left depicts a recognizable arc with extreme clarity, so clear it appears as if the life were invented for this telling.

And sure enough, we get a crisp story about a man who insinuated himself into a Greenwich Village crowd, and absorbed the poetic beat flavor of the time but not the fecklessness. He adopted the guise of a protest singer to get his foot in the door, then assumed the role for many years as our premier poet.

Martin brings us three acts: boy to New York and maturity, Bobby to eminence as a folksinger, Dylan's adventures in rock in spite of adversity. Perhaps the first act isn't as clean because the footage feels more like real history instead of a scripted life.

No mention is made of drugs, or his family (though "Visions of Johanna" is featured). Nothing of his well known exploits with multiple mystical cosmologies. No sex at all. No Beatles or Brian Wilson. All elided in the name of clarity. Well, fine.

And the thing only addresses the first couple really interesting years and avoids the next six or seven where he pounded us with changes and challenges far exceeding those depicted here.

I am reviewing everything there is of Dylan for the upcoming "I'm Not There: Suppositions on a Film Concerning Dylan" which will feature both Cate and Julianne. It should be something special, something challenging and not artificially straightened like this is.

Until then, view this not as Scorsese intended, or as the confused audiences he goes to extremes to depict. Try to view this as someone who was engaged at the time, someone who knew that stronger constructions than "we shall overcome" would be needed to negotiate a way through the world of human brambles and flowers. Try to actually submerse yourself in the art and forget the story of the artist as he would have had it at the time.

It could still save you.

Or if not, look at this as a film which presented Scorsese with a huge problem. Here we have a brilliant young man of whose singular brilliance all the interviewees attest. And then we have recent interviews with the man himself, dull, inarticulate, even stupid. The conventional shaping of the thing would explain by saying he destroyed his gift through drugs and related excesses like fundamentalist religion.

That would be the obvious route, but it complicates the story Scorsese wants to tell. It complicates it simply, because Marty has another image in mind. And it would complicate it indirectly because then you'd have a simple success, drugs, redemption storyspine that you'd have to escape.

So what to do? The solution is to build in a long, otherwise irrelevant stream of press interviews where stupid questions are asked over and over. Stupid, always stupid ones and when faces are shown, it is clear they are those of dolts. Then the recent interview footage of Dylan is tied to that. Surely we don't expect answers to similar questions. It is the choice of a master storyteller to channel our curiosity so. It makes for a clean, Scorsese-type character map.

But if you weren't there, it will cheat you out of the ambiguities and complexities of the real story and that you can find in any Dylan song from "Tambourine Man" to "Lily and the Jack of Hearts."

Still, watch it. But do so lucidly. We can only hope that Jobs wants to tell the rest of the story.

Ted's Evaluation -- 3 of 3: Worth watching.

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