Renaldo And Clara
I made « Renaldo and Clara » for a specific bunch of people and myself, and that’s all. That’s how I wrote « Blowin’ in the Wind » and « The Times Are A-Changin’ ». My film is mostly about identity, everybody’s identity. About naked alienation of the inner self against the outer self, alienation taken to the extreme. And it’s about integrity, the fact that you have to be faithful to your subconscious, unconscious, superconscious, as well as to your conscious. Integrity is a facet of honesty. It has to do with knowing yourself. … Art is the perpetual motion of illusion. The highest purpose of art is to inspire. What else can you do for anyone but inspire them ? I have my point of view and my vision, and nothing tampers with it because it’s all that I’ve got. I don’t have anything to sell out. … I can’t believe that people think that four hours is too long for a film. As if people had so much to do. To me it’s not long enough. You can see an hour movie that seems like ten hours. I think the vision of « Renaldo and Clara » is strong enough to cut through all that. But we may be kicked right out Hollywood after this film is released and have to go to Bolivia. Americans are spoiled, they expect art to be like wallpaper with no effort, just to be there. Bob DYLAN
Born in 1941, Bob Dylan, aka Robert Zimmermann, started being enthralled by rock’n’roll and rythm’n’blues around 15, dreaming about becoming as famous as Elvis Presley. He discovered folk song at 18, sudying in Minneapolis. Impressed by Woodie Guthrie, he starts to sing in local clubs and in 1962 decided to go to New York. He then discovered Greenwich Village and its effeverscent « folk scene », gets a few night clubs’ contract before recording his first album in 1962 for Columbia. The following albums were great success : « The Free Wheelin’ Bob Dylan » with « Blowin’ in the Wind », his first hit, and « The Times are A-Changin' ». He since became a myth and was filmed in concert or on tour in Murray Lerner’s « Festival » (1967), D.A. Pennebaker’s « Don’t Look Back » (1968), Saul Swimmer’s « Concert for Bangladesh » (1972) and D.A. Pennebaker’s « Eat the Document » (1973). He was an actor as well for Sam Peckinpah in « Pat Garrett and Billy the Kid » (1973) which score he also wrote.
Harry Dean Stanton
David Myers, Paul Goldsmith, Howard Alk, Michael Levine
Gary Bourgeois, L.A. Johnson
Bob Dylan, Howard Alk
Production : LOMBARD STREET FILMS