by Jeff Barker
Hi, I’m Jeff Barker, a screenwriter who loves breaking down screenplays. It makes me better at my craft. Let’s do it together.
This is The Screenplay Lab, where we celebrate and study screenplays as their own unique art form. Here, we view the screenplay not as just a blueprint for a film but as a stand-alone literary piece.
We take one screenplay and break it down:
Deconstruct its structure, characters, and themes.
Examine what makes it distinct and memorable.
Discover the lessons it offers to us as screenwriters and storytellers.
This Week’s Screenplay: A Complete Unknown by James Mangold and Jay Cocks
The Story
This screenplay tells the story of Bob Dylan, focusing on a pivotal "season" in his life. Based on Elijah Wald’s 2015 book Dylan Goes Electric!, the screenplay begins with Dylan’s arrival in New York City as an unknown 19-year-old and follows his meteoric rise to fame. It culminates in his revolutionary electric performance at the Newport Folk Festival in 1965.
Why This Screenplay?
Here’s the twist: I haven’t seen the film yet. Instead, I’m approaching A Complete Unknown by reading the screenplay first. Why? Because I want to experience the story in its purest form, without the influence of performances, cinematography, or sound design. This allows us to focus entirely on the writing. The movie I see in my mind relies solely on the words on the page.
Academy Award Nominations
And it must be a great film because it is racking up the nominations. The Academy Awards list was released 1/23/25 and it includes:
Best Picture
Best Director – James Mangold
Best Actor – Timothée Chalamet (playing Dylan)
Best Supporting Actress – Monica Barbaro (as Joan Baez)
Best Supporting Actor – Edward Norton (as Pete Seeger)
Best Costume Design
Best Sound
And the one we care most about: Best Adapted Screenplay
The Development of the Screenplay
The screenplay started around 2018, when Jay Cocks adapted Elijah Wald’s book Dylan Goes Electric! into a script for an HBO series.
In 2020, James Mangold joined the project as director. Together, Cocks and Mangold reworked the script, deciding to turn it into a feature film rather than a series.
Dylan’s Involvement
One of the most fascinating parts of the development process is that Bob Dylan himself became involved in shaping the script. He was impressed with how Mangold handled the Johnny Cash biopic. Dylan provided:
Detailed notes on the screenplay, correcting names, dates, and factual errors from the book.
Insights into his relationships and career.
Input on the portrayal of his girlfriend, leading to a key change: Dylan requested her name be altered to Sylvie in the screenplay to provide some distance from real-life events.
This collaboration adds an incredible layer of authenticity to the screenplay, giving audiences an intimate look into Dylan’s world with his personal stamp of approval. But like any good work of fiction, it isn’t all true.
The Writers
James Mangold
James Mangold is one of the most respected names in Hollywood, with a career spanning decades and a reputation for crafting character-driven stories that blend emotional depth with dramatic intensity. Here’s a quick look at some of his work:
Cop Land (1997): His breakout film starring Sylvester Stallone and Robert De Niro.
Girl, Interrupted (1999): Angelina Jolie won an Oscar for her performance.
Walk the Line (2005): Reese Witherspoon’s Oscar-winning turn as June Carter Cash.
3:10 to Yuma (2007): A gritty western starring Russell Crowe and Christian Bale.
Logan (2017): Nominated for Best Adapted Screenplay, this film reinvented the superhero genre with a raw, emotional story.
Ford v Ferrari (2019): A crowd-pleasing, critically acclaimed biopic.
Indiana Jones and the Dial of Destiny (2023): The latest chapter in the iconic franchise.
Mangold is known for crafting stories with flawed protagonists on emotional journeys.
Jay Cocks
Jay Cocks brings a rich, intellectual approach to storytelling, rooted in history and cultural context. Here’s what you should know about him:
He started as a prominent film critic for Time Magazine in the 60s-70s before transitioning to screenwriting.
He’s worked closely with Martin Scorsese on acclaimed projects:
The Age of Innocence (1993)
Gangs of New York (2002)
Cocks is celebrated for his ability to bring historical richness and emotional depth to his scripts.
At 81 years old, Cocks continues to create screenplays that resonate with audiences, blending his love of history with a nuanced understanding of character and conflict.
Logline:
Official Logline:
An unknown 19-year-old arrives in New York with his guitar. He forges relationships with music icons on his meteoric rise, culminating in a groundbreaking performance that reverberates worldwide.
My Take:
A teenager, unknown to the New York music scene, forms bonds with legendary artists, blazing toward a revolutionary performance that changes the sound of a generation.
When breaking down a script, it is an important exercise to see how you would craft a logline. It is the lens through which you see the story.
Title Page
The title page of A Complete Unknown is surprisingly minimalist - no credits are listed, which feels deliberate, almost as if it mirrors the theme of Dylan’s elusive identity.
I’m not an entertainment attorney, but the way I understand it, since Dylan owns the adaptation rights to the source material and they spoke to him directly, they don’t have to credit the source material. But I am surprised we don’t see Elijah Wald’s Dylan Goes Electric! listed here.
The Title’s Meaning:
I am most proud of this section of the newsletter. So if you only read one thing, let it be this… and share it with your friends. I believe I have cracked the code:
The title, A Complete Unknown, operates on four layers of meaning, each one layer deeper than the previous meaning and each reflecting an important facet of Dylan’s life:
Iconic lyrics from “Like a Rolling Stone”
The phrase comes from a song that shattered conventions in popular music. Its raw emotion, innovative structure, and biting lyrics make it one of Dylan’s most defining works.Dylan is UNKNOWN in New York City
Fresh out of Minnesota, Dylan is an unknown teenager with a guitar slung over his shoulder, walking into the bustling Greenwich Village music scene.Dylan is UNKNOWN to the people in his life
Dylan keeps people at arm’s length, never letting anyone fully know the “real” him. He shifts personas like changing outfits, creating an enigmatic figure who is unknowable.Dylan is UNKNOWN to his fans
In the screenplay, Dylan articulates this internal conflict in a letter to Cash, writing:
“I don’t mind giving an autograph, but my mind tells me it isn’t honest. People say I am contrary, but I am living a contradiction. To quote Mr. Floyd, I get quite paranoid.”
Dylan says that the person his fans idolize isn’t the real Bob Dylan - it’s a construct, a projection.
Formatting and Mechanics
BOB SINGS as a “Character”:
BOB SINGS is listed as a character, giving Dylan’s music its own narrative voice. The way Dylan’s songs are integrated into the screenplay blurs the line between his dialogue, his art, and his essence as a character. But mostly, it is a great way to distinguish when Bob is singing, besides italics.
Heavy Reliance on Parentheticals:
Mangold and Cocks use parentheticals frequently, not just to clarify tone or emotion but to streamline storytelling by replacing traditional action lines.
There are even instances where a parenthetical appears entirely on its own, without dialogue. Check out page 54. This is a bold and minimalist approach.
Ellipses as a Stylistic Quirk:
The screenplay’s use of “..” (two dots) appears 252 times, while the more traditional “...” (three dots) is used only 26 times. This odd discrepancy might hint at individual writing habits from Mangold or Cocks. It could be a stylistic fingerprint.
Specific Scene Headings:
Some very non-traditional scene headings show up in this script.
Some include descriptions:
EXT. BOB AND SYLVIE WALK THROUGH THE VILLAGE – NIGHT
Some are short and precise:
WET AFTERNOON
WET NIGHT
BACKSTAGE
ONSTAGE
Starting Scenes with Dialogue:
Some scenes open directly with dialogue instead of an action line, particularly in sequences featuring music. This structure breaks up large blocks of song lyrics, keeping the pacing fluid.
On pages 54–55, for instance, the writers intentionally begin scenes with dialogue to avoid ending previous scenes on dense text, ensuring the flow remains engaging for the reader.
Sparse, Effective Action Lines:
Many of the action lines are quick, punchy, and laser-focused. On page 18, for example, the descriptions are lean but vivid.
This economy of words mirrors Dylan’s songwriting style - direct, raw, and impactful.
Rapid-Fire Scene Changes:
The screenplay maintains momentum by moving swiftly between locations. Pages 52–53, for instance, cram five distinct scenes onto a single page lenght:
CBS Records
Park
Town Hall Theater
Record Shop
Carnegie Hall
Directional Prompts:
The writers lean heavily on visual cues, such as:
We see, we hear, we follow (used 87 times).
CLOSE ON or ANGLE ON (21 times).
The repetitive use of CUT TO punctuates almost every scene transition.
Using “Off”:
The screenplay often uses “off” in parentheticals and action lines to focus on reactions. This is not an uncommon technique, but it is used frequently here:
“Off Bob’s pinched face.” (page 68)
“Off Sylvie’s look.” (page 34)
This detail guides the reader toward visualizing the characters’ emotional responses without heavy-handed exposition.
Biopics and Story Structure
Cradle-to-grave biopics often fail because they try to document an entire life rather than tell a focused story. A Complete Unknown focuses on a very narrow section of Bob Dylan’s life.
Think about your own fictional genre screenplays. Your characters take us through a very specific set of conflicts they must resolve, not their entire lives – that’s a story.
Jim Carrey Example
Imagine a biopic about Jim Carrey (this is a dream project of mine). You could create at least three solid and distinct films based on different eras of his life.
Early Life:
Young James discovers his talent and uses it to avoid dealing with his family’s trauma and difficulties. Anything to avoid feeling his feelings. He uses determination and hard work to hone his skills and set off for a better future.
Rise to Fame:
Like a Rocketship, James is transformed into Jim, a national treasure. He transitions from television stardom to movie fame, with three major films being released in an 18-month period. Meanwhile, he struggles personally.
Later Life:
This is the one I want to write – Jim reinvents himself after a horrific personal tragedy, despite everyone wanting him to be the court jester. He becomes a modern-day philosopher… but still struggles with his humanity.
In my fantasy, Mr. Carrey collaborates on the project and stars in the film. Think: Eternal Sunshine of the Spotless Mind meets Being Jon Malkovich.
Does anyone know someone who knows Mr. Carrey? I can’t imagine how transformative working on a project like that would be… Hey, there’s another screenplay idea (remember the 1994 movie Cobb?).
The Writing
The screenplay for A Complete Unknown is full of deliberate choices that elevate storytelling through subtlety, specificity, and layered techniques. Let’s break down some of the most compelling aspects of the writing.
Character Introductions
The screenplay introduces its characters with precision, withholding names and creating intrigue:
Dylan himself is described only as "a slight young man," while others are introduced as "buzzcut man" or "his wife." This delay in naming characters is intentional and adds mystery. It mimics the experience of watching a film, where you piece together identities gradually.
When Johnny Cash first appears (page 51), he’s introduced as "a skinny drunk man wearing black." Later, he’s referred to as "the man in black." The subtle buildup teases the audience until a bystander asks, “Is that Johnny Cash?”
While we’re here, let’s go deeper:
The purpose of this scene is to show Johnny Cash connecting with Dylan’s music.
Cash drunkenly gets into a stranger’s car and turns up the song, intrigued.
Later in the screenplay, Johnny writes Dylan a letter letting him know how much he admires his writing/singing. Some screenwriters would have started with the letter. However, Mangold and Cocks give us a master class in “Show, Don’t Tell.” This concept is often misunderstood.
Visual storytelling dictates that we find a way to show the reader that Cash loves the music. They find an interesting way to do it and add conflict (him sliding into a stranger’s car – so entitled).
Conflict in Every Scene
This screenplay is a masterclass in conflict. Mangold and Cocks never take the easy route.
Conflict isn’t just arguing. It’s friction, moving parts, and difficulty.
For instance, Page 78 shows Dylan attempting to reconnect with Joan Baez. The scene sets up a post-sex argument the next morning, but instead of starting in the hotel room, the writers add layers of tension:
Dylan can’t find Joan’s room. She appears unexpectedly, establishing her upper hand in the dynamic.
This small choice keeps their relationship charged with sexual tension without sex, creating emotional complexity through subtle power shifts.
Specificity in Writing
The writers use vivid, precise details, which makes them pop. Here are a few examples.
Page 2: A "Vega long-neck guitar" is referenced, grounding Dylan’s music in authenticity.
Page 46: A photographer uses a "Hasselblad," a choice that adds historical texture.
Page 1: "On the corner, a cop and a Puerto Rican driver argue beside a double-parked car." This tiny detail establishes place, culture, and atmosphere in just one line.
Imagery and Symbolism
The screenplay weaves symbolic imagery throughout, particularly reflections, which are tied to Dylan’s evolving identity:
Page 1: We first see Dylan reflected in a bookstore window, looking at folk music books. This is a symbol of his early fascination with the music genre.
Page 6: Dylan sees his reflection in a hospital mirror while meeting with Pete Seeger and Woody Guthrie as if questioning how he fits into this world.
Page 108: Before his historic electric performance in Rhode Island, Dylan studies his reflection in the bathroom mirror. This moment connects the dots.
Again, I have not seen the film. I get the impression they may attempt to superimpose a previous image over the final image. I sure hope that is not the case. We don’t require hand-holding, especially for those of us watching now during award season.
Music Lyrics Serve as a Monologue
Music isn’t just a background element—it’s essentially a monologue for the story, with lyrics reflecting the characters’ emotions and relationships:
Page 53: After Dylan reads a letter from Johnny Cash, we transition to Dylan singing:
“I met a man who was wounded in love. I met another man…”
“Oh, what’ll you do now, my blue-eyed son?”
Page 81: After Dylan tells Joan she’ll never be more than a lover, the next scene shows them singing together:
“All I really want to do is, baby, be friends with you.”
Page 88: Al Kooper desperately wants to join Dylan’s band but keeps getting rejected. Bob intervenes and allows him to play the organ.
“Once upon a time, you dressed so fine… threw the bums a dime in your prime, didn’t you?”
Time as a Character
Time is woven into the screenplay, a signature of Jay Cocks’ writing. The story subtly reflects historical and cultural events of the 1960s, grounding Dylan’s journey within a larger context:
The Vietnam War, the Cuban Missile Crisis, the Civil Rights March on Washington, and the JFK assassination are all referenced as backdrops to Dylan’s personal and artistic evolution.
Cocks excels at weaving history into character-driven narratives, giving the screenplay a rich, textured feel.
Balance and Symmetry
The screenplay uses balance to underline Dylan’s growth and relationships:
Page 57: The letter exchange between Dylan and Cash takes place entirely on planes. Dylan writes his letter on a plane. Cash reads it and writes a return letter while on a plane.
Chanting for Performers: Early on, Dylan performs while the crowd chants for Joan. Later, Joan performs, and the crowd chants for Dylan. This symmetry highlights how their roles shift as Dylan’s star rises.
Beautiful Passages
The script includes standout moments of visual and emotional poetry:
Page 63: Bob is now a star:
“Everyone is conscious of a frizzy-haired man in dark glasses sitting in the shadows at the end of the table. It is Bob. Different. Smoking a Kool, in Ray Bans, half-turned under a teased crop of hair, holding a notepad. He’s scribbling, ignoring the conversation which, judging from the eyes on him, exists mainly to get his attention.”
Page 44: Bob and Joan singing:
“They sound great. Equals in power. Something which neither is accustomed. The rusty knife of Bob’s voice blunts the beauty in Joan’s. She looks him in the eye. No one is brave today. The moment passes.”
Strong Dialogue
Page 7: Dylan meets Pete Seeger:
Pete: “I’m Pete, by the way.
Bob: “Yes sir, no question about it.”
Pete: “How about you?”
Bob: “I’m Bobby.”
Pete: “Something go with that?”
Bob: “..Dylan.”
Page 24–25: Dylan tells Sylvie he’s happy being a freak.
Bob: “You can be beautiful. You can be ugly. But you can’t be plain. You have to be something people can’t stop looking at, like a train wreck or car crash. And you gotta be happy to be a freak. And at the same time, you gotta make the audience happy they’re not one.”
Side Characters Are Fully Realized
One of the screenplay’s standout qualities is its treatment of the side characters. Each is a fully fleshed-out individual, with their own motivations and even scenes independent of Dylan. This is not just Bob Dylan’s story. It’s the story of everyone who influenced and interacted with him during this pivotal time in his life.
Sylvie: My Favorite
Again, I haven’t seen the movie, but I was surprised today when I saw Elle Fanning (who plays Sylvie) didn’t receive a Best Supporting Actress nomination. The character is so rich and complex.
She is the Voice of Reason:
Sylvie constantly challenges Bob, offering him wisdom and insight that he initially rejects but later grows into.
She urges him to record his own songs. Bob rejects this idea at first, but eventually, it becomes a cornerstone of his career.
She warns Bob that people are using him to get closer to Joan Baez, an idea Bob dismisses at first but later understands.
Sylvie models activism and passion for causes she believes in, which subtly influences Bob as he matures.
She is Unconditional Love and Pain:
Sylvie is willing to give everything to Bob if he would only give her a little in return.
For Bob, though, giving even a little feels like giving everything. This is a tension that’s beautifully captured in one of his lyrics: “I gave her my heart, but she wanted my soul.”
In the end, Sylvie gives up on Bob. He makes a weak attempt to win her back, but as he tries, a crowd of out-of-control fans gathers between them, pushing her out of the way. This moment is a metaphor for how fame isolates Bob, not just from Sylvie but from meaningful relationships altogether.
Tone
The screenplay balances several tones to create a dynamic and immersive story:
Intense Conflict:
There is conflict in every scene, whether it’s with Sylvie, Joan, Pete, or the folk elders… or even Dylan’s internal battles.
This creates constant tension and forward momentum.
Introspection:
Dylan’s introspection makes him a poet but also isolates him, leading to loneliness and resentment.
Rebellion:
Dylan’s refusal to conform drives much of the story, culminating in his ultimate act of rebellion: going electric and breaking from traditional folk music values.
Themes
Fame’s Impact on Relationships
As Dylan’s fame grows, it puts immense strain on all his relationships:
Pete, Dylan’s mentor, wants to both protect him and preserve the purity of folk music. This duality creates tension as Dylan pushes against the boundaries Pete tries to set.
Joan elevates Dylan early on, helping him rise to fame. But as Dylan eclipses her, their dynamic shifts, and she struggles with his artistic choices.
Sylvie represents Dylan’s transitional phase from a small-town boy to a rising star. As fame consumes him, he no longer has space for her, highlighting how success isolates him from meaningful connections.
Evolution as an Artist
Dylan begins as an unknown folk singer and grows into a cultural icon, but the journey changes him. Fame makes him more guarded, resentful, and isolated, as he struggles with being labeled the “voice of a generation.” A deep internal conflict marks his evolution. He wants to stay true to himself but feels trapped by the expectations placed on him.
Change Over Tradition
The central conflict of the story is the tension between tradition and change:
Dylan’s decision to “go electric” represents a cultural shift in the 1960s, when the youth began rebelling against traditions in favor of innovation and individualism. This change was exhilarating but also deeply unsettling for those clinging to the old ways, creating a backdrop of societal tension.
Internal Conflict
Authenticity vs. Expectations:
He feels burdened by the idea that he represents the nation’s protests, but he’s willing to lose his audience to find his own voice.
Intimacy vs. Autonomy:
Dylan distances himself from others to focus on his growth as an artist, but this leads to loneliness.
Identity vs. Persona:
Dylan must decide whether to reject his public persona and risk losing everything or embrace it at the cost of his authenticity.
External Conflict
Bob vs. Folk Elders: His mentors feel betrayed by his decision to go electric.
Bob vs. Fans: Folk purists turn on him for breaking with tradition.
Bob vs. Friends and Lovers: His relationships are strained as fame isolates him.
Bob vs. The Counterculture: Ironically, as an icon of rebellion, Dylan rebels against the very people who idolize him.
Unique Story Structure
The story is divided into two halves:
First Half - Dylan’s Internal Conflict
Dylan arrives in New York, forces himself into the folk scene, and gains popularity as his music resonates with protest movements.
He feels restless and trapped by the expectations placed on him, leading to tension in his relationships.
He resolves to stay true to himself, no matter the cost.
Second Half - Dylan’s External Conflict
Dylan experiments with electric sound, records with a band, and faces backlash from folk leaders and fans.
He burns bridges with nearly everyone around him.
His climactic electric performance at the Newport Folk Festival symbolizes his ultimate defiance, risking everything for his art.
Closing Thoughts on A Complete Unknown
What sets A Complete Unknown apart from other biopics is its focus on personal stakes rather than just historical events. This screenplay captures the emotional cost of Dylan’s rise to fame while embedding his story in the cultural shifts of the 1960s.
What Makes This Screenplay Brilliant
It is the perfect balance of vivid imagery, layered characters, and thematic depth.
Music serves as a narrative monologue, seamlessly tying scenes together.
Conflict drives every moment, keeping the story engaging.
Characters are introduced with complexity and purpose.
Historical context is woven in naturally, enhancing the story without overwhelming it.
Call to Action
If you get a chance, please watch or listen to the podcast. (It will be released on 1/24)
Subscribe, comment, and like this podcast wherever you listen.
If you find this article interesting, please share it.
Check out my website, Jeff-Barker.com, and follow me on social media.
Share this episode with your screenwriting and filmmaking friends.
Don’t miss next week’s episode, where we dissect another Oscar nominee: The Substance by Coralie Fargeat.
Until then, keep writing, embrace every "no," and never stop reading screenplays.
-Jeff Barker
Another excellent analysis. Once again, your logline slays.
Now that is a break down.