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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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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 8 wins & 8 nominations See more »
User Reviews:
Best rock movie in years... See more (67 total) »


 (Episode Cast) (in credits order)

Bob Dylan ... Himself
B.J. Rolfzen ... Himself (voice)
Dick Kangas ... Himself
Liam Clancy ... Himself
Anthony Glover ... Himself (as Tony Glover)
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 .... co-executive producer: UK (as Justin Thomson-Glover)
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 .... 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
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
Ken Jacobs .... the director and producers wish to thank: The following filmmakers for their extraordinary contribution
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 their extraordinary contribution
Lexy Lovell .... special thanks
Jonas Mekas .... the director and producers wish to thank: The following filmmakers for their extraordinary contribution
Odetta .... special thanks
D.A. Pennebaker .... the director and producers wish to thank: The following filmmakers for their 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 their 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:
359 min | 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?

Columbia/SME Records, Sony Music, and Bob Dylan's management gave Martin Scorsese access to its vaults, something Dylan has never given to any documentary filmmaker.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 »
Bob Dylan:We all like motorcycles to some degree.See more »
Movie Connections:
Love Minus Zero/No LimitSee more »


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23 out of 27 people found the following review useful.
Best rock movie in years..., 23 October 2005
Author: ericsinla from Long Island, NY

I really don't know what to say after viewing Martin Scorsese's mesmerizing three-hour+ made for PBS film except that I am truly impressed. And although it is more of a chronicle of an era (the early 1960's and what lead to Dylan's fame) then a biography of Bob Dylan I was surprised that I enjoyed it as much as I did. At first I was skeptical, I thought it had pretensions of grandeur: Dylan/and Scorsese? I mean come on guys!? But the piece delivered. It was cut in such a way that seemed to create drama out of raw material. Although ponderous at times the film not only held my interest but made me want to find out more about Bob Dylan, the NYC folk scene, Pete, Seger, Woody Guthrie, Allen Ginsberg, Liam Clancy, Joan Baez and many others. The interviews were fascinating, humorous and sometimes truly educational. There is a purpose and a true sense of that time to the film that is unlike most other "rock" documentaries. In one of my favorite interviews in the film Bob Neuwirth explains how in the early 60's money (financial success) was not an issue when it came to the arts. Back then it was about if an artist had something to say. Weather it was Bob Dylan or Ornette Coleman what people would ask was "does he (the artist) have something to say." Money and the "bottom line" didn't enter into the equation. It was a whole different world back then. Neuwirth states this so glibly that you'll wish you had a time-machine to go back and check it out for yourself. I have at least one friend who was disappointed in the film. He felt that it didn't illuminate the life of Dylan enough in that it ends in 1966 with him being "booed" offstage for "going electric." But apparently this is all Dylan wanted to reveal for this film. He (and his people) gave Martin Scorsese specific instructions to only chronicle this period. Scorsese was asked to sort through hours of material (including 10-hours of recent Dylan interviews). The result is amazing considering these limitations. Instead of illuminating the Dylan myth the film uses "myth" to stir a powerful narrative, one that rivals many of Scosese's latest cinematic endeavors. Perhaps another director would have tried to create something more definitive regarding the details of Dylans life and songwriting process but Scorsese has always favored myth over reality in him films. And in the case of No Direction Home I believe he mixes together the perfect combination of myth, mystery and reality. Sure there are great Dylan performances throughout the feature but they are tied together by a larger narrative which is the journey of an artist (at a particular stage in his life). Some of the highlights for me musically and otherwise were Dylan at the Newport Folk Festival where he has trouble tuning his guitar but still comes off as some sort of "folk messiah" to the folkies present ( was that scene even real?! ), Al Kooper talking about how he came up for the organ part for Like a Rolling Stone (hilarious). Dylan performing (if only snippets of, sigh…) "Masters of War," and his "Hard Rain" and the final performance of the film (Like a Rolling Stone) when Dylan summons his band (the Band) to "play it f*ck#ng loud!" in order offset the hecklers booing his electric set in England in 1966. Ironically I recently read a quote from Jim Jarmusch talking about NYC in the late 1970's, he said, "I feel so lucky. During the late 70's in New York, anything seemed possible. You could make a movie or a record and work part time, and you could find an apartment for 160 bucks a month. And the conversations were about ideas. No one was talking about money. It was pretty amazing. But looking back is dangerous. I don't like nostalgia. But, still, damn, it was fun. I'm glad I was there." Be it the early 1960's or the late 1970's perhaps the charm and "myth" of such an era inspired Dylan and company to chronicle only his "golden era" as opposed to trying to trace his entire career ( which could have proved to be less then fruitful ). Instead we get a wonderful slice of life about a great time in American History, about a great artist and put together on film by a great filmmaker. I'm not going to complain.

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