BOB DYLAN: The film is no puzzle, it's A-B-C-D, but the composition's like a game. ... The interest is not in the literal plot but in the associated textures—colours, themes, sounds.
ALLEN GINSBERG: It's built in a very interesting way. What [Dylan] did was, he shot about 110 hours of film, or more, and he looked at all the scenes. Then he put all the scenes on index cards, according to some preconceptions he had when he was directing the shooting. Namely, themes: God, rock 'n' roll, art, poetry, marriage, women, sex, Bob Dylan, poets, death—maybe 18 or 20 thematic preoccupations. Then he also put on index cards all the different characters, as well as scenes. He also marked on index cards the dominant colour—blue or red—and certain other images that go through the movie, like the rose and the hat, and Indians—American Indians—so that he finally had a cross-file of all that. And then he went through it all again and began composing it thematically, weaving these specific compositional references in and out. So it’s compositional, and the idea was not to have a "plot" but to have a composition of those themes. ... It's a painter's film, and was composed like that. Each time I see it, it becomes more logical—not rational, but logical.