He said, Im going live, Maitland recalled.
Everyone behind the camera, including directorJames Mangold, recognized they were entering uncharted waters.
We threw away all those [pre-recorded] tracks, Maitland added.
Timothée Chalamet on the set of ‘A Complete Unknown’Jose Perez/Bauer-Griffin/GC Images
We never had one timing mechanism, we had no earpieces.
No playback for this entire movie.
It was basically like recording an album and a movie at the same time.
I thought wed be replacing a whole lot of guitar and voice and all that, Maitland recalled.
We replaced very little.
Some harmonica, for sure but he was still pretty good at harmonica.
It really came down to the amount of work.
Even when he was off camera, hed still be playing just to keep the energy on the set.
Springsteen has already gone on record with his enthusiasm for the project.
Hes got an interpretation of me that I think the fans will deeply recognize.
Hes just done a great job, so Ive had a lot of fun being on the set.
Mangold felt the proper mix in the dailies would convey a collective sense of confidence in the live-Dylan approach.
He was more in tune to my mixing than on any movie Ive ever worked on.
I couldnt do it because the guitar covered it.
They had to weave it in in the morning and now they had to monitor it all day long.
The wire kept sticking out the back.
But its worth it.
That wire is going to cost you 20 dollars in CGI as opposed to replacing these tracks.
Youre never going to be able to replace these tracks.
