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OPERA MUSIC

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HE LAUGHS

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So glamorous!

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PHONE RINGS

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Hello, this is Stephen, can I help
you? Um...

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I forget who I'm calling.

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Who is this, please? Um...

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Lavine.

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MUSIC: All Tomorrow's Parties by The
Velvet Underground

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The forgetful caller was
Andy Warhol.

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The call was made from a payphone
painted silver, on the silver

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wall of his New York City studio
called the Factory.

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When the Factory
opened its doors in January 1964,

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Warhol was already a famous
pop art painter.

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His depictions of everyday consumer
goods and Hollywood icons had

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already jolted the art world
and redefined an era.

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But in his new Factory studio,

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Warhol's creative ambitions
exploded in new directions.

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He bought a movie camera and set out
to become a famous film-maker.

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OK.

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He'd discover his very own screen
stars...

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..and even become a rock
and roll producer.

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And he went to work on perhaps
the most ambitious creation

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ever to come out of the Factory...

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..Andy Warhol himself...

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the enigmatic superstar.

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OK.

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Yeah.

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MUSIC: Going To A Go-Go by The
Miracles

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I'm going this way, aren't I? That's
the idea.

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Warhol was called simplistic.

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You have just copied a common item?
Yes.

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In public he was famously
tight-lipped and aloof.

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But who was the real Andy Warhol?

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Where better to look than in the
private details of his daily life?

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Based on unique access to Andy
Warhol's planning diary,

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and with the involvement of his most
intimate friends and Factory

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colleagues, I'm going to experience
24 hours living on Andy time.

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'Richard, everyone thinks that
Andy was so quiet.

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'Well, I can contradict that
perfectly because he never shut up.'

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Andy took speed, but by the handful.

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Before he went out, he put on a
costume, he put on make-up,

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like an actor going to play a role.

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'We were doing something that
I consider to be very important,'

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and that the future would
recognise this.

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I'll piece together a typical day
in Andy's life from the mid-1960s,

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which in true Warhol fashion
should look

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and feel just like the real thing.

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'WABC, the station New York is
listening to...'

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In the mid-'60s, New York was the
city that proverbially never
slept...

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'This is Dan Thompson, WOR-FM...'

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..and Andy Warhol was right at home.

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The pop art painter had already made
people see the commercial

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world around them in a new way.

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Now any aspect of everyday life
might be his raw material.

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It's a round-the-clock blur of
activity.

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So our day with Andy starts not with
an early-morning alarm clock...

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..but in the middle of the night,
with Andy working on one of his
first

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film projects, called Sleep,

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and starring his close friend, the
poet John Giorno.

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It's six hours of changing camera
angles of Giorno catching Z's.

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What have we got here, John?
These are Tibetan Buddhist cushions.

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On the bottom pallet is
the bed on which Sleep was filmed.

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It was a bed, it sort of had legs
on, they were taken off years ago.

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It is quite an intimate thing to
allow somebody to film you

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when you are in a sort of vulnerable
state like that.

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Well, it never crossed my mind.
It's like making love to somebody.

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Andy was a very good friend,
and that was what he wanted to do,

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and I was happy to be the one that
was there doing that, you know.

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You have been described as lovers.
Was that right, you and Andy?

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We...we made love, we were lovers,
yes.

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Why did you decide to just shoot
somebody sleeping for eight hours?

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Wh... He just said that he sleeps
so soundly. You can just put...

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He falls asleep,

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and he left his door open
in New York, which is so strange.

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You can just walk right in.

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As he slept, Warhol couldn't sleep.

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Even if he'd wanted to.

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'In '64, Andy took speed by the
handful,

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'he did something called Obedrin.'

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For me, this is incredibly
important for his work,

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because what speed did for him in
those years, it made him fearless.

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When he had these great ideas,
he had the ability to do them.

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On behalf of all your fans and the
Warhol fans who are watching this,

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would it be OK for me to touch the
storied bed?

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Oh, yes, go right ahead. Are you
sure?

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Do anything else that you want to.
Really?

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It is that kind of atmosphere,
isn't it?

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Let's have a look down here,
let's check it for springiness.

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It is very firm. Yes, there is
a little give...

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after these years, but...

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she's still there. It is a very
old mattress, I think it is even a
horsehair.

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You know horsehair? Is it?
Yes. That is old school.

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Well, thank you very much. Yes.

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At around 4:30am, after
Warhol completes filming Sleep,

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he hails a taxi and heads home to
his townhouse on the Upper East
Side,

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where he lives with his mother.

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He makes it home just before 5am.

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Warhol's definitely not
a morning person,

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and it is his mum who usually does
the shopping.

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But on rare occasions
he'd stumble out of bed

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and head to this very supermarket,
where he found inspiration.

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Art history settled on one key
point about Andy Warhol, that the

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man enjoyed Kellogg's cornflakes
almost every morning of his life.

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Now, this aisle in the supermarket
had an almost sacramental

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quality for Warhol. This was
the altar of the supermarket.

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It was the home of the Campbell's
soup products that he painted

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so often.

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And he wasn't taking the mickey
out of a ho-hum, everyday staple.

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On the contrary, to Warhol,
this was the food of life,

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a square meal you could depend on.

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And he ate them almost every day.

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The Andy Warhol we think we know
from those countless photographs

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and reproductions is the kooky guy
who took everyday household stuff,

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Brillo Pad boxes, cans of
soup, bottles of pop,

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and prodded us into seeing them
in a different way.

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But there was another Warhol

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who by the mid-'60s was
determined to do everything

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he could to demolish the boundaries
between his art and his life.

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Even before Andy has had his routine
breakfast of Kellogg's cornflakes...

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the Factory is waking up.

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And a key Factory worker has
already clocked in.

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Around 10am,
the studio is coming to life.

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And starting work for Warhol in
1963,

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one minimum-wage worker was
intimately involved in the

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production of virtually all the
iconic silkscreens in the mid-1960s.

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This hired hand was also a poet...

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and was considered the Factory stud.

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Meet Gerard Malanga.

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Why can't you eat that? Well, I have
a cholesterol problem. Oh, dear.

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My hours have changed.

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If I'm in the country, I go to bed at
9:30.

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I get up at six, though,
because the cats want to be fed.

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He was a bit tight with wages. Do
you remember what you were making?

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I do. It was embarrassing.

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$1.25 an hour.

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Does that pluck at your innards
slightly? No, not at all!

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There were a lot of fringe
benefits to the association,

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such as plane tickets, restaurants.

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Andy took care of all of that.

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I felt, when we were silk-screening,
we were doing something that

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I considered to be very important,
and that the future would recognise
this.

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I already knew that.

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Did you feel that your contribution
was recognised,

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because you were doing a lot of the
hands-on work on these silkscreens?

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You know, a painting I silkscreened
back in the '60s

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went up for auction at Christie's
last week.

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A portrait of the Mona Lisa.

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What did it go for, like, $59
million?

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You know, I made that painting.

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'$28 million to open it. $28
million. $30 million.'

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38 million I have. $50 million.

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Sold here at 50 million.
Congratulations.

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At the then minimum wage,

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23.5 hours spent silk-screening
the Warhol pictures would earn

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Gerard about 30 bucks in 1964.

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'Silk-screening with Andy was always
an enjoyable situation because it
was'

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the one place where he became very
honest with me,

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very open with me.

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There was no facade there,
as it were, we were there to create

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art, to create silkscreen
paintings on canvas.

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You know, I gave him ideas for...
for instance, the

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multiplication, superimposition of
the Elvis paintings,

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where there would be more than one
Elvis overlapping with each other.

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I said, "Let's just move
the screen over a little bit

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"and we'll get a superimposition,

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"rather than just have a static
image, one after the other."

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And he said, "OK, we'll try that."

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He liked that idea, and we did
a number of those superimpositions.

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It is getting on for midday.

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Gerard is busy getting ink
under his fingernails.

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And Andy hasn't even left the house
yet,

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and will need all the help
he can get to do so.

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The youngest and arguably most
important worker at the Factory

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is about to leave his high school
classroom in Sheepshead Bay,
Brooklyn,

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jump on a subway train and head
to the Upper East Side of Manhattan.

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For three years this was a daily
journey from the outskirts

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of Brooklyn to another world.

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MUSIC: I'm Waiting For The Man by The
Velvet Underground

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New York City is the art
capital of the world, and

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Joseph Freeman, AKA Little Joey,

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is on his way to get its king out of
bed.

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# I'm waiting for my man... #

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I was essentially hired by Andy to go
to his house, wake him up,

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push him constantly to get ready

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so that he could be at the
Factory at a reasonable time.

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Joseph was a geeky 13-year-old who
heard about an artist obsessed with

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using cutting-edge
tape-recording technology.

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Joseph was determined to get
an interview

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with the artist for his high
school newspaper.

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With New York charm and moxie,
he got through to Warhol's dealer

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and eventually Andy himself.

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I got on the phone with Andy and I
said, "Mr Warhol, I'm a big fan,

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"I want to interview
you for my high school newspaper."

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And he said, "OK, come to the
Factory."

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The interview was followed by a job
offer.

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# I'm waiting for my man... #

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Hello? Andy, it's me.
What's pop art?

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Joey would be surprised by some
of the antics of Andy's friends.

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Brigid Berlin, AKA Brigid Polk,
was a close friend

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and confidante of the artist.

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She liked to make breast prints,
as you do.

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Minimal, conceptual. What's pop?

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And she was also a Warhol superstar,

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who appeared in several of his
films, including Chelsea Girls.

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00:15:04,440 --> 00:15:09,200
I'll talk to you later.
Give your mother my love. All right.

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00:15:09,200 --> 00:15:13,080
If you ever see her. Goodbye. Bye.

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00:15:19,520 --> 00:15:23,120
PHONE RINGS

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00:15:24,880 --> 00:15:28,560
Hello. Oh, hello, is that Brigid?
Yes, it is.

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00:15:28,560 --> 00:15:33,080
This is Stephen from the BBC.
How are you? Fine, good.

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00:15:33,080 --> 00:15:35,400
In the spirit of those
wonderful days,

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00:15:35,400 --> 00:15:38,240
do you mind
if I record this conversation now?

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00:15:38,240 --> 00:15:41,760
No, not at all.
Great, OK, we will do that.

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Start.

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00:15:44,200 --> 00:15:47,680
'I'll use the same model of
cutting-edge recording technology

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00:15:47,680 --> 00:15:51,200
'favoured by Brigid
and Andy in the mid-'60s...

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'still in use amongst BBC
staff today.'

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Um, nine o'clock in the morning,
the phone rings.

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"Hi, Bridge.

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00:16:01,640 --> 00:16:03,800
"What's new?"

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00:16:03,800 --> 00:16:06,440
"Oh, Andy, there is nothing new.

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00:16:06,440 --> 00:16:09,280
"It's nine o'clock in the morning!"

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00:16:09,280 --> 00:16:11,360
"Well...

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"aren't there any good
invitations in the book?"

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"Andy, no, the mail hasn't come.

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00:16:19,240 --> 00:16:22,760
"The mail won't be here until 11.

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00:16:22,760 --> 00:16:26,600
"Oh, Andy, I met this cutest boy.

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00:16:26,600 --> 00:16:30,600
"He was a baseball player
in Central Park."

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00:16:30,600 --> 00:16:34,800
"Well, Bridge, did you do it last
night?"

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00:16:34,800 --> 00:16:38,080
And he would say,
"Did he have a big dick?"

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00:16:38,080 --> 00:16:39,520
SHE LAUGHS

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00:16:43,600 --> 00:16:45,360
I did this every day.

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You couldn't have just done it by
phoning him up and saying,

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00:16:48,040 --> 00:16:49,800
"Andy, get out of bed"?

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00:16:49,800 --> 00:16:51,360
HE LAUGHS

236
00:16:52,880 --> 00:16:55,360
And depending how fast I got here
or not,

237
00:16:55,360 --> 00:16:59,480
I would run to his house or
I would walk to his house.

238
00:16:59,480 --> 00:17:01,440
# Hey, white boy

239
00:17:01,440 --> 00:17:04,480
# What you doin' uptown? #

240
00:17:04,480 --> 00:17:08,080
He wanted to know about your sex
life. What did you think about that?

241
00:17:08,080 --> 00:17:11,640
Well, no, he didn't. He...

242
00:17:11,640 --> 00:17:15,440
Listen. You have this wrong.

243
00:17:16,760 --> 00:17:21,040
Because he was a great
friend of mine.

244
00:17:21,040 --> 00:17:24,920
And, you know, two people can be
terrific friends

245
00:17:24,920 --> 00:17:28,280
and they know everything
about each other. That's true.

246
00:17:28,280 --> 00:17:31,320
You said all people are the same.

247
00:17:31,320 --> 00:17:34,840
And that you want to be a machine
in your paintings. Is that true?

248
00:17:34,840 --> 00:17:36,120
Um...

249
00:17:39,080 --> 00:17:41,760
Is it true, Brigid?

250
00:17:41,760 --> 00:17:45,840
No, he just wishes it was all
easier.

251
00:17:45,840 --> 00:17:48,040
'Can you... Listen,'

252
00:17:48,040 --> 00:17:52,000
everyone thinks that Andy was so
quiet,

253
00:17:52,000 --> 00:17:55,600
that his reaction would be,

254
00:17:55,600 --> 00:17:59,400
"Oh, gee," or, "How fabulous," to
everything.

255
00:17:59,400 --> 00:18:02,400
And he would just listen.

256
00:18:02,400 --> 00:18:06,840
Well, I can contradict that
perfectly because he never shut up!

257
00:18:06,840 --> 00:18:09,960
MUSIC: How Sweet It Is (To Be Loved
By You) by Marvin Gaye

258
00:18:10,880 --> 00:18:15,400
Andy would be very un-monosyllabic
with Brigid for an hour or more.

259
00:18:16,880 --> 00:18:21,120
So you would get to the Warhol
place about 12.50.

260
00:18:21,120 --> 00:18:22,480
What would happen then?

261
00:18:22,480 --> 00:18:26,640
Well, I would knock on the door and
after a few minutes Andy's mom would

262
00:18:26,640 --> 00:18:30,880
answer the door, and she usually had
a couple of cats down by her legs...

263
00:18:35,760 --> 00:18:38,840
Joey Freeman's closing in on
Warhol's townhouse,

264
00:18:38,840 --> 00:18:41,640
where he lived with his mother
for 20 years and has

265
00:18:41,640 --> 00:18:44,120
since been branded The Warhol.

266
00:18:45,720 --> 00:18:48,960
The current owner has declined to
let us have a peek inside,

267
00:18:48,960 --> 00:18:51,200
so we were left to our own
imagination.

268
00:18:52,640 --> 00:18:56,280
So this is the place, right here?
This is the place.

269
00:18:56,280 --> 00:18:59,800
The door, I think, is the same door
that was always here.

270
00:18:59,800 --> 00:19:03,600
And I imagine his mother to be

271
00:19:03,600 --> 00:19:05,600
pulling back the curtain.

272
00:19:05,600 --> 00:19:07,520
This is Andy's mum, Julia,

273
00:19:07,520 --> 00:19:10,440
making an appearance in one of her
son's films

274
00:19:10,440 --> 00:19:14,680
called Mrs Warhola,
as she acts the part of herself.

275
00:19:14,680 --> 00:19:17,200
I guess there's no harm in looking
through the letterbox.

276
00:19:17,200 --> 00:19:19,440
What do you think,
is that an intrusion?

277
00:19:22,480 --> 00:19:23,680
'Oh, look!'

278
00:19:24,960 --> 00:19:29,720
Julia did give her son his bowl of
cornflakes almost every morning...

279
00:19:29,720 --> 00:19:34,320
after feeding about two dozen
Siamese cats, all named Sam.

280
00:19:34,320 --> 00:19:36,960
WOMAN SINGS IN SLAVIC

281
00:19:36,960 --> 00:19:40,080
She got superstar
treatment from her son.

282
00:19:40,080 --> 00:19:43,560
Andy produced a silkscreen
portrait of her...

283
00:19:45,640 --> 00:19:49,480
..and hired a professional recording
studio to tape her singing

284
00:19:49,480 --> 00:19:52,280
traditional Slavic folk songs.

285
00:19:56,000 --> 00:20:00,920
The Warhola family were staunch
adherents of Byzantine Catholicism.

286
00:20:01,960 --> 00:20:04,520
THEY SING A HYMN

287
00:20:07,960 --> 00:20:11,440
Julia was the most artistic
in the family.

288
00:20:11,440 --> 00:20:15,120
She sang, she did
her own type of art.

289
00:20:15,120 --> 00:20:17,120
She loved doing ink drawings.

290
00:20:17,120 --> 00:20:20,800
You know, a lot of
this concern for creativity

291
00:20:20,800 --> 00:20:23,960
and making things
was passed on to Andy.

292
00:20:23,960 --> 00:20:28,960
Julia was kind of that magical input.

293
00:20:28,960 --> 00:20:33,800
Well, I mean, most people have
a sort of public self or a work self

294
00:20:33,800 --> 00:20:36,480
and then, perhaps,
they're slightly different at home.

295
00:20:36,480 --> 00:20:38,520
Maybe a bit more relaxed at home.

296
00:20:38,520 --> 00:20:40,720
But you think this was
particularly pronounced in...?

297
00:20:40,720 --> 00:20:42,360
Oh, yes, I think so.

298
00:20:42,360 --> 00:20:45,160
I think he kept
his two worlds apart -

299
00:20:45,160 --> 00:20:47,760
his home life, his family life...

300
00:20:47,760 --> 00:20:52,000
And that was the part
that we knew him, as Uncle Andy.

301
00:20:52,000 --> 00:20:54,240
And he lived with his mother, Julia.

302
00:20:54,240 --> 00:20:58,080
We had this wonderful
kind of relationship with him there.

303
00:20:58,080 --> 00:21:00,120
..and then there was
this other aspect

304
00:21:00,120 --> 00:21:02,840
of him being a famous painter,

305
00:21:02,840 --> 00:21:05,880
going off to this place
called the Factory.

306
00:21:05,880 --> 00:21:07,000
When he went to church

307
00:21:07,000 --> 00:21:08,880
or he said his prayers
with his mother,

308
00:21:08,880 --> 00:21:10,160
that was at home.

309
00:21:10,160 --> 00:21:13,840
That wasn't something that
the people at the Factory would know.

310
00:21:13,840 --> 00:21:18,200
And of course, he had his crucifix
above his bed that was always there.

311
00:21:18,200 --> 00:21:21,920
And... You say "of course" but people
might be surprised by that.

312
00:21:21,920 --> 00:21:25,840
Oh, I think the crucifixes
were always all over the house.

313
00:21:27,760 --> 00:21:30,040
After I was there for a little bit,

314
00:21:30,040 --> 00:21:32,280
he would come down in his jockeys.

315
00:21:32,280 --> 00:21:34,680
And it's so funny because
he came down in his jockeys

316
00:21:34,680 --> 00:21:37,760
but he had those sunglasses on
and he had his wig on,

317
00:21:37,760 --> 00:21:41,120
although I never knew it was
a wig back then.

318
00:21:41,120 --> 00:21:46,160
It was just a person who had
thinning hair covering that up.

319
00:21:46,920 --> 00:21:51,080
I was 13 and a little bit chunky
and I had a little Beatle haircut.

320
00:21:51,080 --> 00:21:56,080
After working with him for one year,
I was skinny and part of the scene.

321
00:21:56,840 --> 00:21:58,040
You know?

322
00:21:58,040 --> 00:22:00,120
Was that from observing
what was going on

323
00:22:00,120 --> 00:22:03,480
or was somebody telling you,
"You need to do this"? No, no, no.

324
00:22:03,480 --> 00:22:08,240
You knew that being thin
was the ideal.

325
00:22:08,240 --> 00:22:11,640
And you just did it by being
so busy.

326
00:22:11,640 --> 00:22:13,320
We'd walk onto the kerb

327
00:22:13,320 --> 00:22:16,760
and at that time there was
no traffic here at all.

328
00:22:16,760 --> 00:22:20,840
And Andy would step on the kerb
and he'd go like this.

329
00:22:20,840 --> 00:22:22,080
Why would he do that?

330
00:22:22,080 --> 00:22:24,840
Cos that's the way
that Andy hailed a cab.

331
00:22:24,840 --> 00:22:29,600
Sort of a little bit twinkling
of his fingertips, like that.

332
00:22:29,600 --> 00:22:31,800
Did it work much or not really?

333
00:22:31,800 --> 00:22:35,760
It did. Oh, hang on. Here we go!
It did! And lo and behold.

334
00:22:35,760 --> 00:22:40,480
It was a Checker cab
and Andy loved Checker cabs. OK.

335
00:22:40,480 --> 00:22:43,000
Look at this one.

336
00:22:43,000 --> 00:22:46,560
47th Street between
2nd and 3rd.

337
00:22:57,800 --> 00:23:00,320
A lot of times
Andy would look out the window

338
00:23:00,320 --> 00:23:03,800
and he would sort of space out
and get his act together.

339
00:23:05,200 --> 00:23:07,440
You could see an actual
transformation

340
00:23:07,440 --> 00:23:09,320
before your very eyes,
as it were? Yes,

341
00:23:09,320 --> 00:23:12,240
he got in his cab
and he would decompress.

342
00:23:12,240 --> 00:23:15,080
He was quiet and he would look
out the windows,

343
00:23:15,080 --> 00:23:17,400
because when we got to the Factory,

344
00:23:17,400 --> 00:23:22,440
he emerged and
everybody went to him.

345
00:23:22,800 --> 00:23:26,200
Everybody had something
that they wanted him to do.

346
00:23:26,200 --> 00:23:28,840
I saw that happen
time and time again.

347
00:23:30,360 --> 00:23:34,680
Andy and Joey arrive
at the Factory at about 1:45.

348
00:23:34,680 --> 00:23:37,680
We're on 47th Street
between 2nd and 3rd.

349
00:23:37,680 --> 00:23:40,240
And the Factory would have been
over there,

350
00:23:40,240 --> 00:23:42,520
where that brick wall,

351
00:23:42,520 --> 00:23:44,840
that half brick wall is.

352
00:23:44,840 --> 00:23:49,520
And it would have been
maybe three windows wide.

353
00:23:49,520 --> 00:23:51,240
It wasn't a big building.

354
00:23:51,240 --> 00:23:54,160
And I think there were only
maybe eight floors

355
00:23:54,160 --> 00:23:56,280
in the entire building.

356
00:23:59,120 --> 00:24:01,280
A key thrown down to the street

357
00:24:01,280 --> 00:24:04,000
would get you into
the studio freight elevator.

358
00:24:08,920 --> 00:24:12,080
LAUGHTER

359
00:24:12,080 --> 00:24:16,320
I thought maybe
you'd like to see it. Oh, I do.

360
00:24:16,320 --> 00:24:19,200
When Warhol finally
arrives at the Factory at around two

361
00:24:19,200 --> 00:24:22,600
o'clock in the afternoon,
the needs and challenges of running

362
00:24:22,600 --> 00:24:26,640
an expanding multimedia
enterprise await him.

363
00:24:26,640 --> 00:24:31,280
Has anyone important called? Was
the film stock picked up at Kodak?

364
00:24:31,280 --> 00:24:36,280
Has the latest version of some
Flower silk-screens arrived for
Gerard?

365
00:24:37,120 --> 00:24:41,880
Did Henry confirm for lunch? Can
that press interview be pushed back?

366
00:24:41,880 --> 00:24:46,080
And which party invite to
accept this evening?

367
00:24:46,080 --> 00:24:49,920
And while all that's going on, on
Sundays the Velvet Underground, the

368
00:24:49,920 --> 00:24:54,080
new rock group Andy was producing,
would turn up for a rehearsal.

369
00:24:56,920 --> 00:25:00,920
This is the buzzing silver Factory
kingdom of Andy Warhol

370
00:25:00,920 --> 00:25:03,560
in the mid-'60s.

371
00:25:03,560 --> 00:25:06,240
Victor Bockris was
a Factory regular

372
00:25:06,240 --> 00:25:09,720
and the unauthorised biographer
of Andy Warhol.

373
00:25:09,720 --> 00:25:11,080
Was there a court?

374
00:25:11,080 --> 00:25:13,760
Yes, of course,
the Factory was a court. Absolutely.

375
00:25:13,760 --> 00:25:16,720
He had his jester in Ondine.

376
00:25:16,720 --> 00:25:20,480
Ondine, who called himself the Pope,
is an amphetamine head

377
00:25:20,480 --> 00:25:25,440
known for his scathing wit and his
appearances in several Warhol films.

378
00:25:26,120 --> 00:25:31,120
He had his prime minister in Malanga.
He had his manager in Billy Name.

379
00:25:31,640 --> 00:25:34,440
Billy Name is a lighting
designer who also gave

380
00:25:34,440 --> 00:25:36,840
the Factory its
distinctive silver look.

381
00:25:36,840 --> 00:25:40,800
He had his female companions. The
king was always the girl of the year.

382
00:25:42,160 --> 00:25:43,480
Yes, it was a court.

383
00:25:43,480 --> 00:25:47,680
His closest artistic associates
compared him to Louis XIV.

384
00:25:48,760 --> 00:25:52,240
His presence was everything.
His presence was so...

385
00:25:52,240 --> 00:25:54,120
That's like Louis XIV.

386
00:25:54,120 --> 00:25:59,000
Yeah, his presence was so powerful.
People would die for him.

387
00:25:59,000 --> 00:26:01,640
Literally, people would die for him.

388
00:26:01,640 --> 00:26:05,800
Look at his self-portraits. This
great thing like... He's very regal.

389
00:26:05,800 --> 00:26:07,400
He's a king.

390
00:26:11,760 --> 00:26:14,080
In spite of all the new initiatives,

391
00:26:14,080 --> 00:26:18,480
the silk-screens remain at the core
of Factory production.

392
00:26:18,480 --> 00:26:21,960
Gerard's wrapping up the smallest
edition of some recently

393
00:26:21,960 --> 00:26:25,480
completed prints in the Flower
series.

394
00:26:25,480 --> 00:26:28,560
It was very easy to multiply
the Flower paintings

395
00:26:28,560 --> 00:26:30,280
just like in nature.

396
00:26:30,280 --> 00:26:35,320
He wanted... Everybody would have
the opportunity to own an original

397
00:26:35,760 --> 00:26:39,640
painting, even though it was the
same as another original painting.

398
00:26:39,640 --> 00:26:43,200
So we must have silk-screened close
to 100 paintings.

399
00:26:44,320 --> 00:26:48,240
But it's the new films of Warhol
which are consuming his energy

400
00:26:48,240 --> 00:26:51,200
and are starting to generate
publicity,

401
00:26:51,200 --> 00:26:54,440
albeit mostly as objects
of ridicule.

402
00:26:54,440 --> 00:26:56,560
They seem kind of inhuman,
the movies.

403
00:26:58,040 --> 00:27:00,440
No, they were supposed to be
just very real.

404
00:27:01,560 --> 00:27:05,560
And like it's called instant movie,
instant sound. Everything is...

405
00:27:05,560 --> 00:27:09,240
You don't cut anything out,
everything is left in.

406
00:27:09,240 --> 00:27:12,640
But it's very machine-like. Oh, yes.

407
00:27:12,640 --> 00:27:15,360
The camera is going on,
you're sitting over here.

408
00:27:15,360 --> 00:27:17,040
Yeah, you don't
have to watch the movie.

409
00:27:17,040 --> 00:27:19,240
I mean, it takes it all by itself.

410
00:27:24,560 --> 00:27:29,600
At usually two o'clock, I met
the film-maker at the Cinematheque

411
00:27:29,600 --> 00:27:33,640
and maybe I would call Andy
or Andy would call me.

412
00:27:35,080 --> 00:27:38,480
Jonas Mekas was the Cecil B DeMille
of underground

413
00:27:38,480 --> 00:27:41,280
cinema in New York in the '60s.

414
00:27:41,280 --> 00:27:46,040
He screened, promoted
and even shot films of Andy Warhol.

415
00:27:46,040 --> 00:27:50,960
Of course, nobody took early, first
films of Andy's seriously.

416
00:27:53,440 --> 00:27:56,600
I was the only one who was
screening them.

417
00:27:56,600 --> 00:28:00,480
And Jonas gave Sleep its world
premiere.

418
00:28:00,480 --> 00:28:05,320
But I never saw
Sleep from the beginning to end.

419
00:28:05,320 --> 00:28:06,880
Well, maybe that was a blessing,

420
00:28:06,880 --> 00:28:09,320
because some people said
it was very boring.

421
00:28:11,320 --> 00:28:16,080
As boring as any painting,
any modern painting,

422
00:28:16,080 --> 00:28:20,040
like Malevich's The Black Square.

423
00:28:20,040 --> 00:28:25,040
You can say it is boring. You know?
But it is a masterpiece.

424
00:28:25,400 --> 00:28:29,800
It's a landmark in the art
of painting.

425
00:28:29,800 --> 00:28:34,800
So, you sit. Hang on a minute, Jonas.
Now, I will tie you up to the chair!

426
00:28:35,680 --> 00:28:37,320
For audiences,

427
00:28:37,320 --> 00:28:41,480
Andy's excruciatingly unhurried
films were a challenge to the mind.

428
00:28:41,480 --> 00:28:43,240
And also the buttocks.

429
00:28:43,240 --> 00:28:46,480
Mekas once tied him
to his cinema seat to make sure

430
00:28:46,480 --> 00:28:49,840
he viewed his own film
Sleep in its entirety

431
00:28:49,840 --> 00:28:52,920
and suffered for his art
like the other moviegoers.

432
00:28:52,920 --> 00:28:56,960
Like that. No wonder you didn't have
huge audiences at your cinema club

433
00:28:56,960 --> 00:28:59,160
if this is how you treated
the patrons!

434
00:29:07,040 --> 00:29:11,680
For Andy, lunch is
usually between 2:30 and 3:30.

435
00:29:11,680 --> 00:29:13,800
It may just be a diet pill.

436
00:29:13,800 --> 00:29:16,840
Or maybe a frozen hot
chocolate at Serendipity,

437
00:29:16,840 --> 00:29:20,080
a short walk away from the Factory.

438
00:29:22,080 --> 00:29:25,320
So, what time would you expect to
see Andy at your tables?

439
00:29:25,320 --> 00:29:28,840
Well, he'd always come around 2:30,
three in the afternoon.

440
00:29:28,840 --> 00:29:30,920
Who comes through the door
these days?

441
00:29:30,920 --> 00:29:35,960
Any of the top movie stars that are
in New York for PR productions.

442
00:29:36,800 --> 00:29:41,400
You know, we've got the nickname of
the ice cream parlour to the stars.

443
00:29:43,320 --> 00:29:45,400
Andy has been coming to Serendipity

444
00:29:45,400 --> 00:29:48,960
since his days as a graphic artist
back in the late '50s.

445
00:29:51,000 --> 00:29:55,200
Oh, my goodness, look at this.
Here's our famous drink.

446
00:29:57,800 --> 00:30:01,960
Frozen hot chocolate.
This is nectar of the gods. Exactly.

447
00:30:01,960 --> 00:30:05,680
So, you know, at this table,
this was Andy's favourite table.

448
00:30:05,680 --> 00:30:09,240
And I would always reserve it
when I saw him at the door.

449
00:30:09,240 --> 00:30:12,920
And I would say, "Your table is
ready," and he'd of course come with

450
00:30:12,920 --> 00:30:15,480
an entourage of five or six,
up to ten people.

451
00:30:15,480 --> 00:30:19,160
He would put his tape recorder here,
right in the centre,

452
00:30:19,160 --> 00:30:23,680
and order food for everyone
and just let people talk.

453
00:30:23,680 --> 00:30:25,360
In the beginning, we saw him

454
00:30:25,360 --> 00:30:29,480
after he made his rounds on Madison
Avenue and Glamour magazine.

455
00:30:29,480 --> 00:30:32,080
And then we'd sit down,
because lunch would be over

456
00:30:32,080 --> 00:30:33,720
and it would be a quiet time.

457
00:30:33,720 --> 00:30:37,040
We were just two friends talking
and we discussed all

458
00:30:37,040 --> 00:30:40,280
the things about what he should do,
what he shouldn't do.

459
00:30:40,280 --> 00:30:42,040
Or what he couldn't do.

460
00:30:42,040 --> 00:30:44,240
That was an interesting
aspect of Andy,

461
00:30:44,240 --> 00:30:48,640
that he was not only open to
ideas from his friends,

462
00:30:48,640 --> 00:30:53,680
like yourself, and his contacts, but
he almost depended on it. Do you...?

463
00:30:53,680 --> 00:30:55,920
Yes, I agree with that,
100%. I think

464
00:30:55,920 --> 00:31:00,000
he constantly asked
people around him what he should do.

465
00:31:00,000 --> 00:31:02,800
# I'm in with the in crowd... #

466
00:31:02,800 --> 00:31:06,320
Lunch is a time to plan an
exhibition of new silk-screens,

467
00:31:06,320 --> 00:31:10,320
or ask friends
and colleagues for their ideas.

468
00:31:10,320 --> 00:31:12,840
And Andy would get good
ones at Serendipity.

469
00:31:15,040 --> 00:31:16,840
From the early '60s,

470
00:31:16,840 --> 00:31:21,840
Andy regularly had lunch here with
his close friend Henry Geldzahler.

471
00:31:22,480 --> 00:31:24,680
Henry was the curator
of contemporary

472
00:31:24,680 --> 00:31:28,000
art at the Metropolitan Museum
of Art.

473
00:31:28,000 --> 00:31:31,800
There's a story which I hope you can
clarify about him being here

474
00:31:31,800 --> 00:31:36,640
with Henry Geldzahler, and Henry had
a copy of the Daily News.

475
00:31:36,640 --> 00:31:38,720
Some terrible accident had happened,

476
00:31:38,720 --> 00:31:43,080
nearly 130 people being
killed in a plane crash.

477
00:31:43,080 --> 00:31:47,120
Do you recall that day
and how it influenced art history,

478
00:31:47,120 --> 00:31:49,640
if I might put it grandly?

479
00:31:49,640 --> 00:31:52,400
I do recall that day,
because it was sensational.

480
00:31:52,400 --> 00:31:56,360
All over the paper,
every paper had those headlines.

481
00:31:56,360 --> 00:32:01,320
And they were both here discussing.
I didn't stick my nose into the...

482
00:32:03,400 --> 00:32:04,960
into the table to find out

483
00:32:04,960 --> 00:32:08,160
but I know the newspapers
were on the table.

484
00:32:08,160 --> 00:32:12,160
So maybe history was written here.
I don't know.

485
00:32:12,160 --> 00:32:15,480
But their heads were together
over the paper.

486
00:32:15,480 --> 00:32:17,000
Over lunch with Henry,

487
00:32:17,000 --> 00:32:21,400
an idea was discussed which may have
directly led to the powerful,

488
00:32:21,400 --> 00:32:26,160
dark and controversial Death
and Disaster series of silk-screens

489
00:32:26,160 --> 00:32:31,200
that redefined Warhol's
output in the mid-1960s.

490
00:32:31,640 --> 00:32:34,080
So, shall we dig in? Let's try.

491
00:32:34,080 --> 00:32:36,920
After you. In memory of Andy,
it was one of his favourite...

492
00:32:36,920 --> 00:32:40,160
I think he'd have liked it
if we did. Of course.

493
00:32:42,760 --> 00:32:44,240
It's interesting.

494
00:32:44,240 --> 00:32:49,240
There's a kind of marshmallowy top
and then this refreshing, cold rush.

495
00:32:50,160 --> 00:32:53,360
Like a melting glacier
in the mouth... Exactly.

496
00:32:53,360 --> 00:32:57,920
..of the icy bottom, if I can put it
that way. Yes, I like your
explanation.

497
00:32:59,760 --> 00:33:04,160
After lunch, Warhol hit the nearest
payphone to call the carpenter

498
00:33:04,160 --> 00:33:09,160
he paid 365 bucks to build
the wooden boxes on which he'll

499
00:33:09,160 --> 00:33:13,320
make his now famous
silk-screens of Brillo Pad boxes.

500
00:33:13,320 --> 00:33:16,960
Andy wants another 30 boxes.

501
00:33:16,960 --> 00:33:21,000
We had to find a carpenter to
make these boxes.

502
00:33:21,000 --> 00:33:23,120
They had to be lightweight.
We had to paint every box.

503
00:33:23,120 --> 00:33:26,800
But we had a silkscreen one
side of a whole series of boxes.

504
00:33:28,120 --> 00:33:30,840
So it was basically five
sides to a box.

505
00:33:30,840 --> 00:33:34,280
It almost seemed like a very
Duchampian idea, actually,

506
00:33:34,280 --> 00:33:37,520
to find a three-dimensional
ready-made.

507
00:33:37,520 --> 00:33:40,240
And Andy was very
good at executing ideas.

508
00:33:42,520 --> 00:33:46,160
The Brillo boxes were selling
wholesale for $300 each

509
00:33:46,160 --> 00:33:47,960
at Warhol's gallery.

510
00:33:47,960 --> 00:33:52,640
But a cash offer of 50 bucks
on the side might also get you one.

511
00:33:52,640 --> 00:33:55,720
Whatever it took to keep
the lights on at the Factory.

512
00:33:59,640 --> 00:34:03,000
After that, Andy jumps in a cab to
head back to the Factory.

513
00:34:06,840 --> 00:34:11,840
Between three and 4:30pm is prime
time for filming the Screen Tests.

514
00:34:16,480 --> 00:34:19,880
Screen Tests would translate
Warhol's passion for doing

515
00:34:19,880 --> 00:34:24,880
portraits into real-time encounters
with a movie camera. Say cheese!

516
00:34:27,840 --> 00:34:32,440
Can we do a cheese movie? All you
have to do is say, "Cheese, cheese".

517
00:34:32,440 --> 00:34:37,440
All right. No, the next segment
could be a cheese movie. All right?

518
00:34:37,760 --> 00:34:41,440
What's the spirit of this one?
Just... You don't have to do
anything.

519
00:34:42,800 --> 00:34:46,680
Just what you're doing. Can I move?
Yeah, you can move.

520
00:34:48,040 --> 00:34:50,320
But not too much.

521
00:34:50,320 --> 00:34:51,680
HIS CAMERA WHIRS INTO ACTION

522
00:34:51,680 --> 00:34:54,200
How come your camera doesn't
make any noise?

523
00:34:56,480 --> 00:35:01,160
These silent, three-minute black
and white portraits of the famous

524
00:35:01,160 --> 00:35:05,680
and the unknown have been likened to
modern-day Rembrandts,

525
00:35:05,680 --> 00:35:09,920
with their uncanny power to
reveal personality

526
00:35:09,920 --> 00:35:13,880
while their subjects were being
directed to do nothing.

527
00:35:15,560 --> 00:35:19,160
For Warhol, the Screen Tests might
discover the next

528
00:35:19,160 --> 00:35:22,000
superstar for his alternative
Hollywood.

529
00:35:24,640 --> 00:35:28,960
At the same time, they were also
a rite of passage for those

530
00:35:28,960 --> 00:35:32,000
invited to be
part of the Factory scene.

531
00:35:37,760 --> 00:35:42,160
The camera on which all the Screen
Tests were shot was bought by Andy
and

532
00:35:42,160 --> 00:35:46,600
Gerard at a shop called Peerless,
since bought out by Willoughby's.

533
00:35:48,720 --> 00:35:53,360
Willoughby's still has some
vintage camera equipment in stock.

534
00:35:53,360 --> 00:35:57,360
..two or three locations. Right?
How are you doing? Good afternoon.

535
00:35:57,360 --> 00:35:58,760
What can we get for you?

536
00:35:58,760 --> 00:36:02,480
Well, we were curious about this
early model Bolex.

537
00:36:02,480 --> 00:36:05,480
The Bolex purchased
in the winter of '63 was

538
00:36:05,480 --> 00:36:10,480
the beginning of the end of one
Warhol era and the start of another.

539
00:36:10,680 --> 00:36:15,080
How long is it since you've handled
one of these, Gerard? Years?

540
00:36:15,080 --> 00:36:19,960
I would say...
1968. Is that right? Yeah.

541
00:36:19,960 --> 00:36:23,880
And then you'd put it on a
tripod, would you? No, no,
hand-held.

542
00:36:23,880 --> 00:36:28,880
Hand-held always. You could... We
put it on the tripod for the Screen
Tests.

543
00:36:29,520 --> 00:36:33,160
Do you recall, now,
how many Screen Tests you did?

544
00:36:33,160 --> 00:36:38,160
We did somewhere between 480
and 500. Gosh.

545
00:36:39,080 --> 00:36:41,080
It's nice. It's...kind of...

546
00:36:41,080 --> 00:36:44,560
I haven't held one of these in a long
time, actually.

547
00:36:44,560 --> 00:36:48,800
Yeah, oh, I see you are looking at it
through this viewfinder. All right.

548
00:36:50,000 --> 00:36:51,760
I see! I like it.

549
00:36:55,520 --> 00:36:59,440
An afternoon Screen Test transformed
an uptown housewife whom

550
00:36:59,440 --> 00:37:04,040
Warhol met near Bloomingdale's
into one of his first superstars.

551
00:37:08,120 --> 00:37:12,360
Oh, my God, I love that blouse!
Which one? And I love that... This
one.

552
00:37:12,360 --> 00:37:15,200
It's so pretty. It's
like a hoodie. A see-through hoodie.

553
00:37:15,200 --> 00:37:17,240
Yeah, but it's beautiful.

554
00:37:17,240 --> 00:37:20,080
And I love this pink
and the flowers. Yum.

555
00:37:20,080 --> 00:37:22,280
That would be great for me
at Palm Beach.

556
00:37:25,120 --> 00:37:30,120
We did lots of Screen Tests.
Oh, gosh, I guess I did 11. 11?

557
00:37:30,920 --> 00:37:35,720
That's a lot. And what were you
doing while the camera was rolling?

558
00:37:35,720 --> 00:37:38,320
Oh, he'd tell me
things like, "Don't blink".

559
00:37:38,320 --> 00:37:41,600
You try not to blink for three
minutes. It's really hard.

560
00:37:47,000 --> 00:37:50,720
So you had a great look. That's
partly what he liked about you.

561
00:37:50,720 --> 00:37:54,960
What did you get out of it?
Why were you associating with him?

562
00:37:54,960 --> 00:37:56,560
Well, I don't know.

563
00:37:56,560 --> 00:37:59,360
What I got out of it was not
being a bored housewife.

564
00:38:04,160 --> 00:38:08,280
What about Andy's habit of making
somebody a superstar

565
00:38:08,280 --> 00:38:11,320
and then they were
yesterday's plaything?

566
00:38:11,320 --> 00:38:13,600
You know, that really isn't
how it worked,

567
00:38:13,600 --> 00:38:16,160
because everybody remained
a superstar.

568
00:38:16,160 --> 00:38:19,600
It just depended what you did
with your life, you know? I see.

569
00:38:21,680 --> 00:38:24,440
MUSIC: Baby Love
by The Supremes

570
00:38:26,320 --> 00:38:29,520
Bibbe Hansen had her chance
encounter with Warhol

571
00:38:29,520 --> 00:38:33,800
while she was in a diner with
her dad, who happened to know Andy.

572
00:38:33,800 --> 00:38:36,840
Suddenly I felt these
eyes peering at me

573
00:38:36,840 --> 00:38:41,880
and Andy leaned over the table
and said, "And you?

574
00:38:42,440 --> 00:38:44,120
"What do you do?"

575
00:38:45,480 --> 00:38:50,480
And my father leapt up, very proudly,
and said, "I just sprung her from
jail!"

576
00:38:52,800 --> 00:38:54,920
"Thanks, Dad(!)"

577
00:38:54,920 --> 00:38:58,600
Warhol was eager to hear
more about this young delinquent

578
00:38:58,600 --> 00:39:02,400
and her stories of truancy,
shoplifting, drugs and prison.

579
00:39:03,640 --> 00:39:08,040
So, far from you being this kind of
innocent that the Factory exploited,

580
00:39:08,040 --> 00:39:11,000
you'd have been amongst the toughest
cookies in there, probably,

581
00:39:11,000 --> 00:39:14,960
even at 14, wouldn't you?
Yes, I would think so.

582
00:39:14,960 --> 00:39:16,880
I mean, it was on a par, certainly.

583
00:39:19,160 --> 00:39:22,760
Sure enough, she received a Screen
Test invite from Andy.

584
00:39:26,040 --> 00:39:31,040
I instantly knew that it was
a vetting process. I mean, I got it.

585
00:39:31,960 --> 00:39:35,600
Bibbe would end up co-starring
in a Warhol film about prison,

586
00:39:35,600 --> 00:39:40,440
with his newest Factory
superstar, Edie Sedgwick.

587
00:39:40,440 --> 00:39:44,400
She told me the best, most black
eyeliner that you could get.

588
00:39:45,480 --> 00:39:48,560
And I stole her one.

589
00:39:48,560 --> 00:39:51,240
She also taught me
how to put on false eyelashes.

590
00:39:52,400 --> 00:39:55,040
And I would give her drugs.

591
00:39:55,040 --> 00:39:58,240
This bright new charismatic
personality was

592
00:39:58,240 --> 00:40:03,240
considered by Warhol a possible
dream ticket to the real Hollywood.

593
00:40:12,120 --> 00:40:15,720
It's a mid-afternoon fashion
shoot for British photographer

594
00:40:15,720 --> 00:40:17,760
David McCabe.

595
00:40:17,760 --> 00:40:21,040
His rooftop assignment is to
photograph the newest Factory

596
00:40:21,040 --> 00:40:24,200
superstar, Edie Sedgwick.

597
00:40:24,200 --> 00:40:26,400
Warhol has tagged along with Edie.

598
00:40:27,760 --> 00:40:31,800
On a whim, I just asked Andy,
"Jump up on the ladder with Edie,"

599
00:40:31,800 --> 00:40:36,520
and just took that one shot with the
Empire State Building behind him.

600
00:40:40,160 --> 00:40:44,480
Warhol's presence steals the show
and creates an iconic image

601
00:40:44,480 --> 00:40:49,520
of the impresario and his new star
that helped define the Warhol era.

602
00:40:53,520 --> 00:40:58,040
It's one of many iconic images
by McCabe that defined the times.

603
00:40:59,400 --> 00:41:03,720
Andy had already met McCabe, knew
his work and decided to hire him

604
00:41:03,720 --> 00:41:08,720
in 1964 to follow and photograph
a year in his life and art.

605
00:41:10,560 --> 00:41:14,080
It was such a pivotal, pivotal time.

606
00:41:14,080 --> 00:41:18,800
McCabe documented the changing
scene at the Factory and Warhol's

607
00:41:18,800 --> 00:41:20,720
star-studded encounters.

608
00:41:29,160 --> 00:41:32,840
It was crucial to the
image-conscious Andy that McCabe

609
00:41:32,840 --> 00:41:36,080
was on hand to capture
his encounters with the famous,

610
00:41:36,080 --> 00:41:38,920
wherever and whenever they occurred.

611
00:41:43,320 --> 00:41:47,560
When he received my contact sheets,
he would pore over them

612
00:41:47,560 --> 00:41:49,840
with a magnifying glass.

613
00:41:49,840 --> 00:41:53,360
And after the year was over,
what Andy was doing, actually,

614
00:41:53,360 --> 00:41:58,400
was trying to figure out what kind
of an image he should be projecting.

615
00:42:05,160 --> 00:42:08,840
From the beginning, he was very
kind of open, and I actually took

616
00:42:08,840 --> 00:42:12,160
photographs of him laughing
and being a regular guy.

617
00:42:15,280 --> 00:42:20,320
He had turned into the Andy that we
now know, the quiet,

618
00:42:21,680 --> 00:42:23,160
mysterious Andy.

619
00:42:27,640 --> 00:42:30,400
I mean, now everybody has, you know,
they've got the paparazzi,

620
00:42:30,400 --> 00:42:32,400
they've got their own photographers.

621
00:42:32,400 --> 00:42:34,720
They curate their own brands,

622
00:42:34,720 --> 00:42:38,600
to use a couple of terrible modern
coinages, don't they? Exactly.

623
00:42:38,600 --> 00:42:41,240
But he was perhaps the first.
I think so.

624
00:42:46,960 --> 00:42:48,760
He really transformed himself.

625
00:42:48,760 --> 00:42:52,400
He transformed himself physically,
he transformed himself emotionally,

626
00:42:52,400 --> 00:42:55,640
by not allowing emotions to
interfere with his work.

627
00:42:55,640 --> 00:42:58,680
He transformed himself,
you know, deeply

628
00:42:58,680 --> 00:43:02,800
and to become really one of
the great beauties in the world.

629
00:43:02,800 --> 00:43:04,360
Andy Warhol...

630
00:43:04,360 --> 00:43:07,040
There are photographs of Andy Warhol
that are just, like,

631
00:43:07,040 --> 00:43:08,200
incredibly beautiful.

632
00:43:11,120 --> 00:43:14,520
But close friends of Warhol
knew that the image he worked

633
00:43:14,520 --> 00:43:18,760
around the clock to create
and maintain was just that -

634
00:43:18,760 --> 00:43:20,200
an image.

635
00:43:20,200 --> 00:43:22,280
He thought himself ugly.

636
00:43:22,280 --> 00:43:26,080
But when you saw Andy naked -
he looked like a beautiful boy.

637
00:43:26,080 --> 00:43:30,480
I'd say, "Andy, don't you
look at yourself in the mirror?
You're beautiful."

638
00:43:32,000 --> 00:43:34,600
And then on this beautiful body sat
the Andy Warhol head

639
00:43:34,600 --> 00:43:36,280
with the wig!

640
00:43:39,760 --> 00:43:42,280
And he, of course,
he had a big dick...

641
00:43:42,280 --> 00:43:43,720
A... Quite a big dick.

642
00:43:46,040 --> 00:43:50,240
At around 4.30 in the afternoon,
Andy playfully heads to a

643
00:43:50,240 --> 00:43:53,760
Times Square photo booth a few
blocks from the Factory,

644
00:43:53,760 --> 00:43:56,560
to take some self-portraits
his way -

645
00:43:56,560 --> 00:43:59,920
fast, cheap and easy.

646
00:43:59,920 --> 00:44:02,640
In spite of anxieties
about his looks,

647
00:44:02,640 --> 00:44:05,480
Andy never met a photo booth
he didn't like.

648
00:44:06,960 --> 00:44:09,760
So, in the spirit of Andy, I'm
getting made up

649
00:44:09,760 --> 00:44:11,640
for my close-up.

650
00:44:11,640 --> 00:44:14,440
John Richardson,
the biographer of Picasso,

651
00:44:14,440 --> 00:44:16,880
who knew Warhol,
said this about him,

652
00:44:16,880 --> 00:44:21,640
"He hid his blotchy looks behind a
smokescreen of windswept wigs,

653
00:44:21,640 --> 00:44:25,520
"unevenly dyed eyebrows,
heavy layers of calamine

654
00:44:25,520 --> 00:44:27,200
"and Harpo Marx mutism."

655
00:44:28,760 --> 00:44:31,800
Of course, I don't really need
this, I'm a natural English rose,

656
00:44:31,800 --> 00:44:34,040
but thanks anyway.

657
00:44:34,040 --> 00:44:37,800
By the mid '60s Andy often turned
up at photo booths with a

658
00:44:37,800 --> 00:44:42,440
roll of quarters, to shoot himself
or for a growing franchise

659
00:44:42,440 --> 00:44:44,080
of commissioned portraits.

660
00:44:45,360 --> 00:44:48,360
Here she is - what a beauty.

661
00:44:48,360 --> 00:44:51,880
Guaranteed to get your photos in two
and a half minutes, folks.

662
00:44:51,880 --> 00:44:54,440
None of that
hanging about for three minutes.

663
00:45:01,960 --> 00:45:04,080
I like the instructions here -

664
00:45:04,080 --> 00:45:06,720
Number three -
"Attempt to look good."

665
00:45:06,720 --> 00:45:09,760
It's as if they knew I was coming,
"Attempt to look good."

666
00:45:09,760 --> 00:45:12,880
And number four - "Have a drink.
Your photos will be delivered

667
00:45:12,880 --> 00:45:14,880
"in four to five minutes."

668
00:45:14,880 --> 00:45:16,320
That's service.

669
00:45:19,280 --> 00:45:22,080
OPERATIC SINGING

670
00:45:29,000 --> 00:45:32,120
The photo booth was
used by Warhol for his first

671
00:45:32,120 --> 00:45:37,120
commissioned portrait of the
collector Ethel Scull in 1963.

672
00:45:37,120 --> 00:45:38,960
I thought, "Where are we going?"

673
00:45:38,960 --> 00:45:40,800
"Just down to 42nd Street
and Broadway."

674
00:45:40,800 --> 00:45:43,040
I said,
"What are we going to do there?"

675
00:45:43,040 --> 00:45:45,680
He says, "I'm going
to take pictures of you."

676
00:45:45,680 --> 00:45:48,320
I said, "For what?"
He said, "For the portrait."

677
00:45:48,320 --> 00:45:52,600
I said, "In those things?" I said,
"My God, I'll look terrible."

678
00:45:52,600 --> 00:45:55,760
He said, "Don't worry."
And he took out -

679
00:45:55,760 --> 00:45:58,360
he had coins,
about $100 worth of silver coins.

680
00:45:58,360 --> 00:46:01,960
And he said, "We'll take the high
key and the low key,

681
00:46:01,960 --> 00:46:05,840
"and I'll push you inside and you
watch the little red light."

682
00:46:05,840 --> 00:46:09,440
By the mid-'60s, photo booth
portraits were an important

683
00:46:09,440 --> 00:46:11,840
source of income for Warhol.

684
00:46:11,840 --> 00:46:14,640
Ethel paid $700 for hers -

685
00:46:14,640 --> 00:46:18,760
adjusted for inflation - $6,000.

686
00:46:18,760 --> 00:46:22,480
The photo booth helped pay
the costs of running the Factory,

687
00:46:22,480 --> 00:46:24,480
one quarter at a time.

688
00:46:27,240 --> 00:46:31,240
Before Andy, the photo booth was
a largely functional place,

689
00:46:31,240 --> 00:46:34,360
to get your ID or your passport
sorted out.

690
00:46:34,360 --> 00:46:37,840
After all, not every family
had its own camera in those days.

691
00:46:37,840 --> 00:46:41,600
But it was small wonder that Warhol
saw the potential for art

692
00:46:41,600 --> 00:46:44,240
in this extraordinary space.

693
00:46:44,240 --> 00:46:47,320
On the one hand,
it threw forward to the selfie

694
00:46:47,320 --> 00:46:50,480
that we're obsessed with
and deluged by today.

695
00:46:50,480 --> 00:46:54,920
On the other hand, though,
the photo booth, the confines,

696
00:46:54,920 --> 00:46:58,320
the screen, the darkness,
recalled nothing so much as

697
00:46:58,320 --> 00:47:00,960
the confessional of his Catholic
upbringing.

698
00:47:04,920 --> 00:47:07,680
In anticipation of the evening's
activities,

699
00:47:07,680 --> 00:47:11,080
between six and seven o'clock
Warhol would make a quick

700
00:47:11,080 --> 00:47:15,040
round trip to his townhouse to
"get glued."

701
00:47:15,040 --> 00:47:19,360
Getting glued was his expression
for wig and make-up management.

702
00:47:19,360 --> 00:47:23,040
He'd also put on a fresh
splash of his favourite cologne -

703
00:47:23,040 --> 00:47:24,520
Eau de Savage.

704
00:47:25,840 --> 00:47:28,000
BRIGID: I didn't want to be
with Andy at night,

705
00:47:28,000 --> 00:47:31,040
I'd been with him all day.

706
00:47:31,040 --> 00:47:33,840
I'd look at the clock, and I'd say,

707
00:47:33,840 --> 00:47:36,400
"I'm getting out of here."

708
00:47:36,400 --> 00:47:40,360
He'd look closely down at his watch -

709
00:47:40,360 --> 00:47:45,120
with his eyes one inch
away from the face of the watch.

710
00:47:45,120 --> 00:47:50,080
And he'd say,
"Brig, why are you leaving?

711
00:47:50,960 --> 00:47:53,320
"The fun is just beginning."

712
00:47:59,240 --> 00:48:02,800
The favourite time of the day
was at the beginning of the evening,

713
00:48:02,800 --> 00:48:05,680
like, at seven o'clock, because that
was the beginning of the night,

714
00:48:05,680 --> 00:48:07,880
whatever party it was.

715
00:48:07,880 --> 00:48:10,640
From seven o'clock at night to
four in the morning

716
00:48:10,640 --> 00:48:14,640
is peak partying time for Warhol
and his entourage -

717
00:48:14,640 --> 00:48:16,440
almost nightly.

718
00:48:16,440 --> 00:48:20,360
The evening circuit might begin
at an uptown gallery opening...

719
00:48:22,840 --> 00:48:27,640
..then move on to a fashion
banquet at the Waldorf Astoria.

720
00:48:27,640 --> 00:48:30,480
Sometimes Andy would get invited
to a very, you know,

721
00:48:30,480 --> 00:48:32,840
exclusive dinner somewhere!

722
00:48:32,840 --> 00:48:36,800
Warhol was the best possible
guest for any self-respecting

723
00:48:36,800 --> 00:48:39,760
New York host or hostess.

724
00:48:39,760 --> 00:48:43,160
It might be some museum patrons
enjoying a light snack at the

725
00:48:43,160 --> 00:48:44,920
St Regis Hotel.

726
00:48:48,040 --> 00:48:50,880
Warhol once said he'd go to the
opening of anything -

727
00:48:50,880 --> 00:48:52,080
even a toilet seat.

728
00:48:54,200 --> 00:48:59,240
Andy had to show up, Andy had to
tap-dance for his supper.

729
00:48:59,240 --> 00:49:02,920
And he had to hobnob with the rich
and famous.

730
00:49:02,920 --> 00:49:05,960
Andy wanted to have some
kind of power.

731
00:49:05,960 --> 00:49:08,480
He wanted to possess
a certain kind of power...

732
00:49:10,080 --> 00:49:13,840
..possessing a power that could
manipulate the media,

733
00:49:13,840 --> 00:49:18,880
or possessing a power where he...
he could make money.

734
00:49:18,880 --> 00:49:22,600
But it almost always ends up with
Andy holding court,

735
00:49:22,600 --> 00:49:25,920
and his entourage falling
apart at the seams

736
00:49:25,920 --> 00:49:30,920
at Max's Kansas City in the wee
small hours of the morning.

737
00:49:30,920 --> 00:49:33,880
Andy enjoyed himself,
and he did stay out late sometimes.

738
00:49:33,880 --> 00:49:36,760
But it wasn't something that he
wanted to do all the time -

739
00:49:36,760 --> 00:49:38,120
it could be a bit tiring.

740
00:49:45,160 --> 00:49:48,320
As a complete change of pace
from all-night partying,

741
00:49:48,320 --> 00:49:51,760
Warhol would occasionally use
the slot from seven at night

742
00:49:51,760 --> 00:49:54,160
to four in the morning to
make a movie.

743
00:49:58,120 --> 00:50:03,160
In 1964, Andy bought himself a new
Auricon film camera.

744
00:50:05,120 --> 00:50:08,840
It held much larger reels of film
than the old Bolex,

745
00:50:08,840 --> 00:50:10,920
and it could record sound.

746
00:50:12,600 --> 00:50:15,880
But Warhol's first film
with his new sound camera

747
00:50:15,880 --> 00:50:18,840
wasn't going to have a
soundtrack at all.

748
00:50:18,840 --> 00:50:22,720
The irony is we shot a sound
movie without sound.

749
00:50:22,720 --> 00:50:25,440
We made a silent movie with
a sound movie camera.

750
00:50:26,800 --> 00:50:31,080
Tonight, at around 6:30,
Andy and five co-conspirators,

751
00:50:31,080 --> 00:50:35,120
including Henry Geldzahler, Gerard
Malanga, Jonas Mekas,

752
00:50:35,120 --> 00:50:39,240
and Jonas's protege John Palmer,
jump into taxis,

753
00:50:39,240 --> 00:50:43,480
with camera, tripod and about 50
kilos of raw film stock,

754
00:50:43,480 --> 00:50:45,880
and head to a friend's office

755
00:50:45,880 --> 00:50:49,400
with an unobstructed view of New
York City's most iconic building.

756
00:50:50,680 --> 00:50:54,200
John Palmer suggested the idea
for this evening's new film -

757
00:50:54,200 --> 00:50:56,160
and Andy was running with it.

758
00:50:58,240 --> 00:51:01,520
Tonight, they'll gleefully subvert
the fundamental rules

759
00:51:01,520 --> 00:51:06,400
and expectations of movie-making,
and make underground film-making
history.

760
00:51:08,600 --> 00:51:11,640
Tonight,
they'll shoot the film Empire.

761
00:51:14,960 --> 00:51:17,960
It's the Memorial Day holiday
weekend, when everything

762
00:51:17,960 --> 00:51:19,560
in Manhattan is shut tight...

763
00:51:21,240 --> 00:51:25,080
..including the office building from
which Empire was originally shot.

764
00:51:26,960 --> 00:51:30,360
This is the window from which
the original was filmed.

765
00:51:30,360 --> 00:51:34,680
The unobstructed view,
though, is history.

766
00:51:34,680 --> 00:51:37,840
Gerard and I are determined to
recapture one of the most

767
00:51:37,840 --> 00:51:40,520
eventful moments in the film.

768
00:51:40,520 --> 00:51:44,200
All our hopes are now pinned
to this location.

769
00:51:44,200 --> 00:51:47,480
I'm told it has a rooftop garden,
with an excellent view

770
00:51:47,480 --> 00:51:49,240
of the Empire State Building.

771
00:51:56,400 --> 00:52:00,840
Well, it's an excellent location.
Only two things are missing -

772
00:52:00,840 --> 00:52:03,680
the garden and that unobstructed
view of the building we're

773
00:52:03,680 --> 00:52:05,080
here to film.

774
00:52:08,520 --> 00:52:12,520
Poor Gerard is nearing exhaustion,
the jaws of defeat are

775
00:52:12,520 --> 00:52:14,440
beginning to tighten around us.

776
00:52:21,800 --> 00:52:24,600
In the depths of despair,
with time running out,

777
00:52:24,600 --> 00:52:28,520
we receive a promising
tip-off about a nearby building.

778
00:52:50,320 --> 00:52:52,000
Now, that's a view.

779
00:52:54,000 --> 00:52:59,000
I set up the camera and I framed it
and called Andy and said,

780
00:53:00,520 --> 00:53:03,560
"Take a look,
is this what you want?"

781
00:53:03,560 --> 00:53:06,040
And Andy said, "Roll it."

782
00:53:09,720 --> 00:53:12,840
And with that command,
one of the most notorious and

783
00:53:12,840 --> 00:53:15,720
controversial films
of the underground era

784
00:53:15,720 --> 00:53:17,600
was off and rolling.

785
00:53:17,600 --> 00:53:20,040
It went and it went
and it went and it went...

786
00:53:21,960 --> 00:53:24,760
With a running time of eight hours
and five minutes,

787
00:53:24,760 --> 00:53:27,760
Empire provokes ridicule amongst
many who haven't viewed

788
00:53:27,760 --> 00:53:29,080
a second of it,

789
00:53:29,080 --> 00:53:32,040
and pot smoking amongst those who
try and view it all.

790
00:53:34,520 --> 00:53:38,000
Thing is, we're not doing drugs cos
it was Henry Romney's office

791
00:53:38,000 --> 00:53:42,000
at the Rockefeller Foundation, so we
were clean, we were squeaky clean.

792
00:53:45,640 --> 00:53:50,320
After one hour and maybe a half,
suddenly the lights go on.

793
00:53:54,400 --> 00:53:57,600
What an event!
What a fantastic event like...

794
00:54:00,720 --> 00:54:04,360
..when lights went on
on the Empire State Building.

795
00:54:08,120 --> 00:54:11,400
'As luck would have it,
tonight's the night

796
00:54:11,400 --> 00:54:15,440
'when the lights of the Empire State
Building are red, white and blue.

797
00:54:16,440 --> 00:54:19,040
'What could be more pop than that?

798
00:54:22,840 --> 00:54:26,880
'To help kill time,
Gerard took verbatim notes of some

799
00:54:26,880 --> 00:54:29,240
'of the historic late-night banter.'

800
00:54:34,600 --> 00:54:39,200
Jonas Mekas - "Did you know that the
Empire State Building sways?"

801
00:54:39,200 --> 00:54:42,920
Andy - "Henry,
what is the meaning of action?"

802
00:54:42,920 --> 00:54:46,160
Henry -
"Action is the absence of inaction."

803
00:54:48,000 --> 00:54:51,800
John - "The lack of action
in the last three 1,200-foot rolls

804
00:54:51,800 --> 00:54:53,080
"is alarming."

805
00:54:55,120 --> 00:54:59,200
John - "This is the strangest
shooting session I've ever been in."

806
00:54:59,200 --> 00:55:01,640
Andy - "The Empire State Building
is a star."

807
00:55:04,720 --> 00:55:08,520
And at some point, Andy said,
"Maybe we've had enough."

808
00:55:08,520 --> 00:55:11,320
And that's where it ended,
like, eight hours later.

809
00:55:16,400 --> 00:55:20,200
But you know, sometimes Andy would
prefer to avoid parties

810
00:55:20,200 --> 00:55:23,560
and late-night film-making,
just to stay at home and watch

811
00:55:23,560 --> 00:55:27,000
his favourite TV comedy -
I Dream Of Jeannie.

812
00:55:30,080 --> 00:55:33,120
Andy says, "OK."

813
00:55:33,120 --> 00:55:35,920
I'd say, "Andy,
what are you watching?"

814
00:55:35,920 --> 00:55:39,400
He said,
"Oh, Brig, I love I Dream Of Jeannie.

815
00:55:39,400 --> 00:55:41,960
"I just love it."

816
00:55:41,960 --> 00:55:43,840
Uh, Jeannie?

817
00:55:43,840 --> 00:55:46,720
Jeannie, bedtime. Bong time.

818
00:55:46,720 --> 00:55:49,720
You are going to bed so early,
master? Oh, yes.

819
00:55:49,720 --> 00:55:51,800
Yeah, I got a rough day tomorrow.

820
00:55:51,800 --> 00:55:55,720
Andy says,
"Why can't we get to Hollywood?"

821
00:55:55,720 --> 00:55:58,840
We used to sit in his tent
and drink wine with him.

822
00:55:58,840 --> 00:56:02,880
And I'd say, "Andy, we are
never going to get to Hollywood.

823
00:56:04,000 --> 00:56:08,360
"Because you don't
believe in a beginning...

824
00:56:08,360 --> 00:56:11,680
"a middle...or an end."

825
00:56:11,680 --> 00:56:14,120
CANNED LAUGHTER

826
00:56:17,480 --> 00:56:20,720
But Andy Warhol didn't
really need to go to Hollywood,

827
00:56:20,720 --> 00:56:24,720
his fame had already eclipsed most
Hollywood A-listers.

828
00:56:24,720 --> 00:56:29,720
He once said, "A whole day of life
is like a whole day of television."

829
00:56:30,000 --> 00:56:33,200
And Warhol lived his own life as
if it was his

830
00:56:33,200 --> 00:56:37,440
very own hit series,
in which Andy Warhol was producer,

831
00:56:37,440 --> 00:56:40,560
director, publicist
and, of course, star.

832
00:56:40,560 --> 00:56:43,320
MUSIC: I'll Be Your Mirror
by The Velvet Underground

833
00:56:43,320 --> 00:56:46,320
# I'll be your mirror
Reflect what you are... #

834
00:56:46,320 --> 00:56:49,440
On our last day of filming
in New York City,

835
00:56:49,440 --> 00:56:53,000
something extraordinary happened at
three minutes to midnight

836
00:56:53,000 --> 00:56:56,080
at the eternal flame of pop
consumerism,

837
00:56:56,080 --> 00:56:58,120
known as Times Square.

838
00:57:00,240 --> 00:57:03,440
It was as if Andy was magically out
there, and had

839
00:57:03,440 --> 00:57:08,000
decided to help give an ending
to our made-for-TV movie about him.

840
00:57:09,600 --> 00:57:13,280
All at once, Andy Warhol's Screen
Tests ignited upon

841
00:57:13,280 --> 00:57:15,400
Times Square billboards.

842
00:57:17,360 --> 00:57:22,400
Edie Sedgwick, Nico - the singer
of The Velvet Underground...

843
00:57:23,280 --> 00:57:26,560
He had a vision of the future
in some weird way.

844
00:57:26,560 --> 00:57:29,040
I think that's what creativity is.

845
00:57:30,880 --> 00:57:33,520
Andy's whole life is based
on an intuition of what's going to

846
00:57:33,520 --> 00:57:35,200
happen...next.

847
00:57:35,200 --> 00:57:37,800
And being in front of it
and making it happen.

848
00:57:41,280 --> 00:57:45,320
I think Andy Warhol is the...
his best creation.

849
00:57:50,240 --> 00:57:54,440
In his lifetime, some thought Warhol
came from another planet.

850
00:57:54,440 --> 00:57:58,800
In fact, he hailed from somewhere
equally exotic - the future.

851
00:58:02,400 --> 00:58:05,200
And as we endlessly
post on social media,

852
00:58:05,200 --> 00:58:07,120
consume celebrity culture,

853
00:58:07,120 --> 00:58:11,720
or even take a selfie -
we're living on Andy time.

854
00:58:12,800 --> 00:58:15,640
# I'll be your mirror... #

855
00:58:15,640 --> 00:58:19,080
Half a century on from the
amphetamine-fuelled,

856
00:58:19,080 --> 00:58:23,240
sleep-deprived, superstar-obsessed
creative frenzy of

857
00:58:23,240 --> 00:58:28,240
the Factory days, and Andy Warhol
day hasn't really ended.

858
00:58:32,200 --> 00:58:46,240
# I'll be your mirror

859
00:58:46,240 --> 00:58:49,680
# I'll be your mirror... #