A Quote by Raymond Depardon

When the American documentary filmmaker Donn Alan Pennebaker wanted to do a film on Dylan, Dylan asked him what he'd already done, and Pennebaker answered, Nothing except shots in the street. Dylan asked to see them, and he agreed to let him do the film.
I always remember what Bob Dylan said in that [Martin] Scorsese documentary on him. When he was asked about Joan Baez's complaints about the way he treated her when they were together, Dylan laughed and said, "It's impossible to be in love and wise at the same time."
Singer Boy Dylan was stopped at his own sow by security guards who failed to recognize the singer. Asked to comment, Dylan replied, 'I can hardly blame them. Look at me.'
A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz's Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song.
Bob Dylan was really mad with my wife. I had asked by Rolling Stone - the only assignment I ever had for them - to do a story on the Rolling Thunder Review, which was Bob Dylan, Alan Ginsberg, Joan Baez and a host of stars. My wife, some weeks before, had written in The New York Times that The Kid wasn't The Kid anymore and he wasn't all that winning anymore.
I have Bob Dylan lyrics on my ribs. I'm a diehard Dylan fan, and my dad and I joke that if I ever met him, I'd have him sign his name right under my tattoo and then I'd run to the parlor to get his signature tattooed.
Bob Dylan is great. I've been compared to him a lot. I think when people see a person on stage with a guitar they just think, 'Bob Dylan!'
Bob Dylan is great. Ive been compared to him a lot. I think when people see a person on stage with a guitar they just think, Bob Dylan!
I have no doubt that if I met Bob Dylan, it would be disappointing - and annoying to him. But that's why I like Bob Dylan.
In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (The Freewheelin' Bob Dylan) from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan.
Albert Grossman called my office and spoke with my partner Richard Leacock and asked if we'd be interested in making a film with his client, Bob Dylan.
Bob Dylan is my idol. Everybody has that person growing up that made them see things a little differently than they did before, Dylan is that guy for me. My dad gave me the 'Blonde on Blonde' album on cassette tape when I was seven or eight. It took me a while to get into Dylan's vibe, but once I did, I never looked back.
We didn't have the phrase 'style icon' when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets - I liked how they dressed - and Catholic school boys.
While [Bob] Dylan's folk fans thought he was selling out [in 1965-67], actually Dylan was lodging a stronger, deeper critique of American hypocrisy.
I was comparatively late in understanding Bob Dylan's overwhelming importance as a songwriter. Everybody who does my job exists in the shadow of Bob Dylan. There are two categories: Dylan and everybody else. It's as simple as that. And it's going to be that way until he dies.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.
I named my sons Brandon and Dylan after the Beverly Hills 90210 characters. Both of them were born in my bathroom. I had Dylan in my tub, and he came out underwater.
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