Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#62892
of 909177 performers
Top 10%
Bob Dylan represents the rare performer whose career became more ambitious with every decade — 58 years in, and Bob is still choosing the harder script.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Bob Dylan appears in 13 films in the Nutevio catalogue, and none of them would work the same way without Bob. The Greatest Night in Pop is the clearest case: a film rated 7.3 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, quiet performance, transformation. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for documentary, music, tv movie. It is a style built on what is withheld as much as what is played.
Working with Colin Hanks, Kevin Macdonald, Frank Marshall and others, Bob Dylan helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
The Greatest Night in Pop (2024) as Self (archive footage) · The Last Waltz (1978) as Self · John Candy: I Like Me (2025) as Self - Singer (archive footage)
Career snapshot
Ranked #62892 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
13
1967–2025
Career length
58 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.3
The Greatest Night in Pop
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.9
The Greatest Night in Pop
Most frequent director
Martin Scorsese
2 films together
Longest collaboration
2×
With Martin Scorsese
Most common genre
Documentary
12 titles
Average runtime
1h 48m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
7.0
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1970s
7.1 average MV
The 1970s are where the work and the material meet. The Last Waltz, Pat Garrett & Billy the Kid — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1970s
7.1
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1970s
7.5
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1960s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Bob Dylan – Don't Look Back.
Most productive era
2020s
8 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1960s | 1970s | 2010s | 2020s |
|---|---|---|---|---|
| Drama | — | 6.91 film | — | — |
| Romance | — | — | — | 6.51 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Career peak
1967Bob Dylan – Don't Look Back
Where our catalogue meets this career, as Self. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Highest rated performance
7.3 on the Nutevio scale, the top of the catalogue for this performer.
Most recent film
The current state of the argument, as Self (archive footage).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
13 of 13 films
as Self (archive footage)
Directed by Bao Nguyen
as Self
Directed by Martin Scorsese
as Self - Singer (archive footage)
Directed by Colin Hanks
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Self
Bob Dylan – Don't Look Back (1967)
Performance score7.5
The performance the rest of the career is read through. Self gives Bob Dylan a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Self
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019)
Performance score7.4
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese asks for something the previous films did not, and gets it. Self is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Self (archive footage)
The Greatest Night in Pop (2024)
Performance score7.2
The Greatest Night in Pop asks for something the previous films did not, and gets it. Self (archive footage) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Self
The Last Waltz (1978)
Performance score7.1
The Last Waltz asks for something the previous films did not, and gets it. Self is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Self
Start here. Bob Dylan – Don't Look Back is the clearest statement of what Bob Dylan does — accessible, 96 minutes, and rated 6.9 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Bob at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
The Last Waltz (1978)
Keeps the music register of Bob Dylan – Don't Look Back but asks for a colder reading of it.
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019)
Same director as The Last Waltz, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
The Greatest Night in Pop (2024)
Keeps the music register of Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese but asks for a colder reading of it.
John Candy: I Like Me (2025)
Keeps the documentary register of The Greatest Night in Pop but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Martin Scorsese
Director
2 films together
Notably The Last Waltz
D. A. Pennebaker
Director
1 film together
Notably Bob Dylan – Don't Look Back
Sam Peckinpah
Director
1 film together
Notably Pat Garrett & Billy the Kid
Daniel Roher
Director
1 film together
Notably Once Were Brothers: Robbie Robertson and the Band
Bao Nguyen
Director
1 film together
Notably The Greatest Night in Pop
Frank Marshall
Director
1 film together
Notably The Beach Boys
Kevin Macdonald
Director
1 film together
Notably One to One: John & Yoko
Colin Hanks
Director
1 film together
Notably John Candy: I Like Me
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Martin Scorsese
Director
2 films together · 7.0 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
The Last WaltzBao Nguyen
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Greatest Night in PopColin Hanks
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
John Candy: I Like MeSam Peckinpah
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Pat Garrett & Billy the KidD. A. Pennebaker
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Bob Dylan – Don't Look BackKevin Macdonald
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
One to One: John & YokoFrank Marshall
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Beach BoysDaniel Roher
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Once Were Brothers: Robbie Robertson and the BandSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
The Last Waltz
as Self
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Once Were Brothers: Robbie Robertson and the Band
as Self (archive footage)
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
The Last Waltz
as Self
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
John Candy: I Like Me
as Self - Singer (archive footage)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Bob Dylan – Don't Look Back
as Self
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Bob Dylan has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Career Achievement
Awarded
58 years of relevant work — not merely a long career, but a long career of choices.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Documentary Legend
Awarded
12 catalogue titles in documentary, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
The Greatest Night in Pop
as Self (archive footage)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Last Waltz
as Self
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Once Were Brothers: Robbie Robertson and the Band
as Self (archive footage)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Last Waltz
as Self
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Pat Garrett & Billy the Kid
as Alias
Images that would survive with the sound switched off.
Best action sequence
Pat Garrett & Billy the Kid
as Alias
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Pat Garrett & Billy the Kid
as Alias
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
The Magic Voices of Pop
as Self (archive)
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
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Reference
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