I liked it very much. I was surprised though, it wasn't quite what I expected.

I don't know. I was intrigued because I knew they were going to use a lot of footage that I'd shot, but I really didn't know whether they were going to make a performance documentary or interview a lot of people. What's interesting for me is that most of the interviews tend to be opinions that people expressed, and depending on how high a regard you have for those people, their opinions faired well or badly. What's incredible is that with Dylan, instead of opinion, it's really more a kind of history, and not just his history, but a whole history of something you know about but aren't quite sure what it is. That came through amazingly. There is an undercurrent of something important here and you've got to pay attention to it.

I'd forgotten a lot of it! Howard Alk shot those interviews with people outside the concerts and I'd never seen them, so I was surprised to see how adverse they were. I remember people being excited, pointing at Dylan and trying to get his autograph, whereas here all these people were saying that he had betrayed them. I had never really noticed that. I'd heard references to it from The Band and [drummer] Mickey Jones, but I hadn't really heard it.

I hadn't noticed it. It's hard to tell booing from cheering in a way and I'm up there on stage so there's a lot of noise - I'm in the middle of The Band. Maybe I heard it and hadn't thought about it. It just didn't seem reasonable to me in view of how marvellous that music was.

Absolutely. He was getting bored up there all by himself. After he's finished writing a song and played it a few times he knows it. So he's going to try and do it differently and make you hear it differently. When he got on stage with a group he was jumping around like a cricket. It was such a great experience for him I thought he should never go back to those old solo days with just an acoustic guitar. This was just much more interesting for him.

There was a lot of stuff that wasn't there - the stuff with John Lennon for instance. But you don't mourn the loss of appearances. The thing picks up speed and it has to keep going. It can't accommodate everything; it just has to move as fast as it can.

Dylan just thought it would be interesting and I thought it was a great idea. It wasn't originally going to be part of Dont Look Back. Initially it was going to be something for British television. You had Ready, Steady, Go where the artists had to mime to a backing track because it was cheaper than having them play live. The Beatles would come in and instead of miming they'd play their guitars upside down and do everything they could to pretend not to sing; it was kind of a joke. Dylan thought it was a funny idea and this would be another step on from that. We shot three sequences - one on the roof, one in the back of the hotel and the one in the alleyway. I just took the one in the alleyway and never took it off. To me, that was the greatest way to start the film. Now you can see all of them in this new film.