Timothée Chalamet was the first actor to be a host and musical guest on "Saturday Night Live." It's the latest stunt to promote "A Complete Unknown" to fans and the Academy Awards panel, alike.

Chalamet returned to “Saturday Night Live” for his third hosting gig after he was nominated for an Oscar for his portrayal of Bob Dylan in “A Complete Unknown.”

Timothée, 29, was said to be in character almost the entire time he was filming the Oscar-nominated biopic, even styling red carpet looks in homage to the singer. He has now revealed that he actually gained over 20 pounds to play a younger version of Bob, 83, as he was initially too thin.

Timothée Chalamet performed two lesser-known Bob Dylan songs, in his own voice, as the musical guest as well as host of 'Saturday Night Live.'

In addition to learning to sing like Bob Dylan, Timothée Chalamet also underwent a physical transformation for his role in A Complete Unknown. “I've turned over every stone. I did all the work, like you just described,

Timothée Chalamet made another stop on his awards season promotional tour this weekend by pulling a double shift on “Saturday Night Live,” hosting as himself and singing like Bob Dylan, the rock legend he plays in the Oscar-nominated film “A Complete Unknown.”

Chalamet was joined on all three numbers by James Blake on keys. The British singer/ producer later took to Instagram and wrote: “Surreal and fun to play Saturday Night Live with Bob Dylan... I mean Timothee Chalamet. Congrats to Timmy on everything. Nobody deserves it more.”

Timothée Chalamet learned to play guitar and sing like Bob Dylan for “A Complete Unknown.” He also gained 20 pounds to look more like the folk music legend, he revealed an interview with NPR. “I’ve turned over every stone.

Timothée Chalamet reveals that part of his Bob Dylan preparation for 'A Complete Unknown' required him to gain 20 pounds.

It might at first seem obvious why filmmakers won’t leave the subject of Bob Dylan alone. Search “Dylan” and “movies,” and the list — from documentaries like “Don’t Look Back” (1967) to fictionalized treatments like “I’m Not There” (2007) — turns out to be surprisingly extensive.

It feels like every recent movie release is some sort of adaptation. There are sequels, prequels and, more increasingly, biopics. The genre has grown stale for moviegoers as they've grown accustomed to the expected tropes of the format.