Both masterworks were incubated in the same hotel of the New York bohemian scene.

Evidence

Album and movie both seemed fueled by the same drug (methamphetamine) and, some thought, haunted by the same lost soul (Edie Sedgwick). Both projects were voluptuously jaded, steeped in New York’s New Bohemia, and had partially gestated in that Bohemia’s citadel, the massive, moldering Chelsea Hotel hunkered down on West Twenty-Third Street. Warhol would never make a comparable film, nor Dylan a greater album. — J. Hoberman, Everything Is Now, 907