Go ahead, admit it: You never were that into Bob Dylan, but you just saw “A Complete Unknown” and now you’re hooked. You’re fascinated by the singular twists and turns of Dylan’s career, and you want to hear more of them.

We’re coming to the rescue with this Dylan listener’s guide — not intended to be the definitive overview, but a few good starting points. This isn’t necessarily a list of his greatest works (we’d need “Highway 61 Revisited” and “Blood on the Tracks” for that), but some of his most fascinating moves — many released after the fact on his Bootleg Series — that each have their own story to tell. Take it away, Bob:

“Bob Dylan”  (1962):  When Dylan was bopping around Greenwich Village and paying homage to Woody Guthrie during the movie’s timeframe, this was what he sounded like. The wonder of his debut album was that he sounded like the ambitious kid he was, not like an icon in training. He even vents in “Talkin’ New York” about the bad treatment and low pay he got in the folk clubs, just like everybody else with a guitar back then.

“Live 1966: The ‘Royal Albert Hall’ Concert:”  The Newport Folk Festival show is the movie’s dramatic peak, but this concert eight months later was the real showdown. The UK audience was even less friendly to his new electric sound, and Dylan (after a haunted-sounding acoustic set) follows with 40 minutes of seething rage that’s positively thrilling. The “Judas” moment (at Newport in the movie) actually happened here, as someone in the crowd yelled that name at him because of the new sound. Dylan responds by audibly instructing his backup group (later known as The Band) to “Play (expletive) loud!” — and they do. He hits the crowd with a ferocious “Like a Rolling Stone,” spitting out every word and practically inventing punk rock.

“The Basement Tapes” (recorded 1967, released 1975): You could make a whole ‘nother movie about Dylan in 1967-68. Just at his creative peak he suffered a mysterious motorcycle accident, the circumstances of which were never revealed. He holed up in Woodstock with The Band, adopted a new and warmer singing voice, and wrote at a frantic pace, songs with blues and gospel shadings and plenty of surreal humor. One classic song, “The Mighty Quinn,” came about just because he saw Anthony Quinn as an Eskimo hero in a movie on TV.  Sometimes they even had fun: The session where they all backed up Tiny Tim is only on bootlegs, but it happened.

The Bootleg Series: “Travelin’ Thru 1967-69”:  You know from the movie that Dylan revered Woody Guthrie, but he was equally in awe of Johnny Cash. The two recorded together at this time, and you can hear how Dylan is eager to soak up all the wisdom he can from Cash. Not coincidentally, he made the country album “Nashville Skyline” soon after.

“Rolling Thunder Revue: The 1975 Live Recordings:” This was perhaps the wildest era of Dylan’s performing career. Fresh out of a painful divorce, he gathered a roomful of friends (including some famous ones), hit every venue that was available, and played some shows that were the essence of “ragged but right.” Many of these happened in Boston area venues (including the Harvard Square Theater).

“Trouble No More: 1979-1981:” In perhaps the most shocking move of his career, Dylan proclaimed himself a born-again Christian and swore he would only sing for the Lord from then on, casting all of his back catalogue aside.  Many fans took it as a personal betrayal and Dylan wound up playing small halls to less-full crowds. Too bad, because these live recordings show a true revival meeting going on, with fervent performances and uplifting spirits. And just like that, the era ended by the mid-‘80s, as suddenly as it began.

“Shadows in the Night” (2015):  Nobody ever really knew why Dylan, secure in his elder-statesman era, developed a sudden love for Frank Sinatra. This was the first of three albums of Frank-associated songs, with straight-up versions of standards like “Some Enchanted Evening” and “Autumn Leaves.”  It’s warm-hearted and surprisingly charming, and not that far from similar albums by Dylan’s friend Willie Nelson.

“Tempest” (2012):  Dylan’s latest-but-one studio album is a dark and fascinating work, with the lyrics growing ever denser and the music evincing a haunted blues feel. An epic ballad about the Titanic, placing Leonardo DiCaprio among the real-life passengers? Sure. Also included here is one of his greatest and meanest one-liners: “I pay in blood, but not my own.”

And as always with Bob Dylan, the story ain’t over yet.

Timothée Chalamet in a scene from “A Complete Unknown.” (Photo by Macall Polay/Courtesy of Searchlight Pictures)