这个影片的话题够大,并且它还探讨了那个年代纽约民谣音乐的精髓所在,当然还有民谣文化的特色。我们自然会努力用我们自己的方式,来讲述这段故事。当然也是因为我们想尽力讲述“迪伦出现”之前的主人公的真实故事。对于名声大噪后的他,我们和许多人一样都并不太感兴趣,至少那些故事和经历,早已经为世人所熟知。在鲍伯·迪伦之前,显然也有不少人从事音乐的创作和演唱这一行当,当受限于民谣的音乐形式,以及行事上的中规中矩,这些音乐人也仅仅是在小圈子里自唱自创。而鲍伯·迪伦在也门当中则称得上是最具感染力的人物之一,无论在行事和创作方面都给人超脱凡众之感。那段时期那些歌手的生存状态,这才是我们最感兴趣的。——乔尔·科恩 The film’s topic is big enough, and it explores the essence of New York’s folk music of that era, and of course the folk culture. We will naturally strive to tell the story in our own way. And of course because we’re trying to tell the truth about the protagonist before Dylan appeared. We are not as interested as many others for the reputation of him, at least those stories and experiences, already well known to the world. Before Bob Dylan, apparently there are a lot of people engaged in the creation and singing of music business, when limited by the folk music form, and acting law-abiding, these musicians are only singing in a small circle Homemade. And Bob Dylan is one of the most contagious figures in Yemen, giving him a sense of superiority in both acting and writing. This is the period of those singers living conditions, this is what we are most interested in. - Joel Cohen