Copy until the end, says the devil. Be careful not to be accused of plagiarism, recommends the lawyer. In any case, make a virtue of influence, don't hide it, we will all benefit, because it's about knowledge transfer. After all, music is a combination of familiarity and uniqueness. The avant-garde tightens the string of uniqueness, pursuing the chimera of originality. The mainstream demands familiarity, recognizable things. Between one and the other there is a long way to go, including copying and legitimate inspiration, issues that intellectual property legislation sanctions or protects. Nothing legitimate, however, is extractive plagiarism, such as dispossessing authorship or passing off what belongs to another as one's own.

If it's a bit chilly and you're in good company, even better. You have to stand on the corner of Jones Street and West 4th Street, facing west, and ask a pedestrian to kneel down so you can find the right angle. And then you can play at imitating one of the most famous album covers in the history of music, that of The Freewheelin' Bob Dylan From 1963, with the singer and Suze Rotolo embracing. Their relationship didn't end well, but the photo is beautiful. They look young and in love. And the record is a treasure. Some neighbors who live on the corner spend their time snooping around when tourists want to copy the photo. It seems that most of them are European, curiously..

Suddenly, I began to cry, deeply moved by everything that the scene I was watching in the movie explained. By how filmmaker James Mangold had decided to stage the interpretation of the song. The times they are a-changin' by Bob Dylan, because of the way actor Timothée Chalamet was singing it... and because verses eroded by clichés took on new meanings at that precise moment.

The facts of the life and work of Bob Dylan that puts on stage A complete stranger They have been told so many times (for example, in Elijah Wald's book Dylan goes electric!, the starting point for Jay Cocks' script) that have ended up acquiring the mythical texture of fiction. In fact, the way in which James Mangold presents some situations – the improvised intervention of Al Kooper as organist in the recording of Like a rolling stone, or the scandal caused by Dylan and his band's over-the-top recital at the Newport festival, a bastion of folk tradition – pursues the same complicit tickling as the quotes that superhero films make in their pregnant vignettes. In other words: the realistic appearance of the film is a mirage behind which we find a fable that, in essence, is not far from the masquerade ball that Todd Haynes orchestrated in I'm not there, where the Dylanesque mystery was embodied in different forms.

An audience booing the musician they idolize because he dared to play the electric guitar. Many do not need any further information to identify the characters and the context of the scene: it is the concert of Bob Dylan at the Newport Festival in 1965, the day the musician staged his resignation from being the voice of a social movement and claimed his artistic freedom with the electric sound of the guitar and the verses of fury and spite of Maggie's farm. In the most purist temple of American folk, the patron saint of the new protest song came out to play with a rock band and the audience reacted first with stupor and then with tears and indignation. It was one of those moments about which piles of articles and books are written, a tectonic shift in popular culture and, all of it, a simple aesthetic choice: how an artist wants his music to sound.

When she was eight years old, Tilda Swinton (London, 1960) saw a film that "changed her life." In fact, at that moment she thought "it was a dream, not a movie." It is the first version of Powers of ten, a scientific short by Charles and Ray Eames that lasts only 10 minutes and begins with an everyday, almost bucolic sequence: a family having a picnic, with their basket full of food and a tablecloth on the grass. Then, the camera moves away 10 meters, 100 meters, 1,000 meters... "After a while you see the United States, the Earth, the galaxy, and then it comes back to the picnic and the camera enters the man's hand and you see the bloodstream, the nervous system, which I have with Mark Cousins"because it is a film that makes you fall in love with cinema and makes you realise that cinema has no borders," he explained.