Chords for Martin Scorsese - American Masters: No Direction Home: Bob Dylan - 2005 Peabody Award

_ Our first Peabody goes to American Masters, No Direction Home, Bob Dylan.
This brilliantly constructed documentary is far more than a biography.
Here the central figure becomes a metaphor for time and place, nation [B] and culture.
_ _ _ _ I'll take you to a place called Italian home.
I wasn't seeing Woody Guthrie anymore.
I was still singing a lot of his songs, but I'd replaced them with a lot of the other songs all of a sudden.
I kind of went through Woody Guthrie in a kind of way,
but I didn't really want to go through Woody Guthrie.
I didn't want to feel that it was something just [A] negligible. _ _ _ _
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_ _ [D] _ _ [A] _ _ _ _
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[A] _ I [E] really cared.
I really wanted to portray my gratitude in some kind of way.
But I knew [F#] that I was not going to be going back to [F#m] Greystone anymore.
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[E] I felt like I had to write that song.
I did not consider myself a songwriter [A] at all.
But _ I needed to write that and I needed [C#] to sing it.
So [A] _
that's why I needed to write it, because it hadn't been written.
That's what I needed to say.
I needed to say that. _ _ _ _ _
[G#m] _ _ [A] _ _ _ _ _ _
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_ Accepting the Peabody Award is [N] director Martin Scorsese. _ _ _ _ _ _
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_ _ Thank you so much.
Thank you. _ _
I'm truly honored to receive this award from No Direction Home, Bob Dylan.
I'd like to sincerely thank the University of Georgia, Grady College of Journalism,
and the members of the Board of the Peabody's.
_ This is such important recognition.
I'm really honored and humbled to be included among _ your distinguished past honorees,
and of course, today's recipients.
_ _ _ _ This film was a very special project for me.
It took about three and a half, four years to pull together.
Actually, when Jeff Rosen, who's Bob Dylan's long-time associate,
presented the idea to me and Margaret Bodie, my associate,
we knew it had to be a labor of love,
especially after seeing the footage that he accumulated over the years.
And what extraordinary footage it was,
D.A. Pennybaker's color footage of Bob Dylan's 1966 tour.
Wonderful footage from Newport Festival of 1964 by Murray Lerner in black and white.
The first film of Dylan in New York in 16mm by John Cohen.
_ But of course, with all that footage, the ultimate challenge was the story.
How to find it in all that footage.
And as we progressed, it became clear that _ we thought it was about the development of an artist.
But not just any artist.
It's Bob Dylan.
For many of us, our artist, our voice.
And what can you say about Bob Dylan that hasn't already been said in his music?
But Jeff Rosen had done this great interview of Dylan, about ten hours of footage.
And after scouring that, we realized we let Dylan speak for himself.
_ _ And then there was the music.
We also tried to make a film about music in which you really hear music.
Dylan's music, of course, but also, more importantly, I think, the people who influenced him.
And then there was the sound.
The sound of his growing up.
The sound of the late 40s all through the 50s.
And that permeated his world and ours.
And then further we realized that we had to attempt to tell the story of the times, too.
The 50s and especially the 60s.
To recreate the context of a time.
To try to lift the nostalgia and the clichés away.
To see Vietnam and the Civil Rights Movement and the revolutionary era of rock and roll from a fresh perspective.
And to feel the shock of that time all over again.
In order to see Dylan as he was formed in the crucible of that moment. _
And so we tried.
I like to say that the film couldn't have been made without Jeff Rosen, Bob Dylan's long-time associate and producer.
He had the foresight to keep this footage out of the public eye for decades.
He did all the key interviews of Allen Ginsberg, Liam Clancy, Dave Van Romp, Joe Maez.
And, of course, the interview of Dylan long before he had plans to make a documentary. _
And a special word here.
I was very fortunate to work with David Tedeschi.
An enormously talented and dedicated editor who was there whenever I needed him.
Any hour of the day or night over the past four years as we pulled this picture together.
I want to thank PBS and American Masters.
And I want to thank our line producers Jessica Cohen and Tia Lesson.
_ And for all their guidance, help and patience with me, my co-producer and friend Margaret Bodie.
And our producers Nigel Sinclair, Susan Lacy and Anthony Wall.
Of course, the ultimate thanks goes to Bob Dylan.
Thank you.
Thank you very much.
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When you come up, you can stand over there. _
_ _ _ It's my podium. _ _
_ _ I understand Mr.
Scorsese came over here because he knew the mic was already at the right height.
But let me tell you something.
_ It's my podium.
Your podium's over there. _ _
_ _ _ As far as your remarks, keep them brief.
And you know why?
Because you people didn't direct Goodfellas.
That's why. _ _ _
He can do it every once.
You, you people, you give me ten seconds, thirty seconds, you thank somebody, you get the hell out of here.
_ _ And I don't want to see these things on eBay