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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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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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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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and was considered the Factory stud.

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Meet Gerard Malanga.

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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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I'll talk to you later. Give your mother my love. All right.

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If you ever see her. Goodbye. Bye.

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PHONE RINGS

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Hello. Oh, hello, is that Brigid? Yes, it is.

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This is Stephen from the BBC. How are you? Fine, good.

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In the spirit of those wonderful days,

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do you mind if I record this conversation now?

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No, not at all. Great, OK, we will do that.

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Start.

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'I'll use the same model of cutting-edge recording technology

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'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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"What's new?"

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"Oh, Andy, there is nothing new.

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"It's nine o'clock in the morning!"

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"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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"The mail won't be here until 11.

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"Oh, Andy, I met this cutest boy.

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"Well, Bridge, did you do it last night?"

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And he would say, "Did he have a big dick?"

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SHE LAUGHS

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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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"Andy, get out of bed"?

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HE LAUGHS

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And depending how fast I got here or not,

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I would run to his house or I would walk to his house.

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# Hey, white boy

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# What you doin' uptown? #

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He wanted to know about your sex life. What did you think about that?

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Well, no, he didn't. He...

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Listen. You have this wrong.

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Because he was a great friend of mine.

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And, you know, two people can be terrific friends

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and they know everything about each other. That's true.

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You said all people are the same.

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And that you want to be a machine in your paintings. Is that true?

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Um...

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Is it true, Brigid?

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No, he just wishes it was all easier.

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'Can you... Listen,'

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everyone thinks that Andy was so quiet,

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that his reaction would be,

249
00:17:56,000 --> 00:17:59,000
"Oh, gee," or, "How fabulous," to everything.

250
00:17:59,000 --> 00:18:02,000
And he would just listen.

251
00:18:02,000 --> 00:18:07,000
Well, I can contradict that perfectly because he never shut up!

252
00:18:07,000 --> 00:18:10,000
MUSIC: How Sweet It Is (To Be Loved By You) by Marvin Gaye

253
00:18:11,000 --> 00:18:15,000
Andy would be very un-monosyllabic with Brigid for an hour or more.

254
00:18:17,000 --> 00:18:21,000
So you would get to the Warhol place about 12.50.

255
00:18:21,000 --> 00:18:22,000
What would happen then?

256
00:18:22,000 --> 00:18:27,000
Well, I would knock on the door and after a few minutes Andy's mom would

257
00:18:27,000 --> 00:18:31,000
answer the door, and she usually had a couple of cats down by her legs...

258
00:18:36,000 --> 00:18:39,000
Joey Freeman's closing in on Warhol's townhouse,

259
00:18:39,000 --> 00:18:42,000
where he lived with his mother for 20 years and has

260
00:18:42,000 --> 00:18:44,000
since been branded The Warhol.

261
00:18:46,000 --> 00:18:49,000
The current owner has declined to let us have a peek inside,

262
00:18:49,000 --> 00:18:51,000
so we were left to our own imagination.

263
00:18:53,000 --> 00:18:56,000
So this is the place, right here? This is the place.

264
00:18:56,000 --> 00:19:00,000
The door, I think, is the same door that was always here.

265
00:19:00,000 --> 00:19:04,000
And I imagine his mother to be

266
00:19:04,000 --> 00:19:06,000
pulling back the curtain.

267
00:19:06,000 --> 00:19:07,000
This is Andy's mum, Julia,

268
00:19:07,000 --> 00:19:10,000
making an appearance in one of her son's films

269
00:19:10,000 --> 00:19:15,000
called Mrs Warhola, as she acts the part of herself.

270
00:19:15,000 --> 00:19:17,000
I guess there's no harm in looking through the letterbox.

271
00:19:17,000 --> 00:19:19,000
What do you think, is that an intrusion?

272
00:19:22,000 --> 00:19:24,000
'Oh, look!'

273
00:19:30,000 --> 00:19:40,000
after feeding about two dozen Siamese cats, all named Sam.

274
00:19:40,000 --> 00:19:43,000
Andy produced a silkscreen portrait of her...

275
00:20:11,000 --> 00:20:21,000
She sang, she did her own type of art.

276
00:20:21,000 --> 00:20:58,000
and making things was passed on to Andy.

277
00:20:58,000 --> 00:21:00,000
..and then there was this other aspect

278
00:21:00,000 --> 00:21:03,000
of him being a famous painter,

279
00:21:03,000 --> 00:21:06,000
going off to this place called the Factory.

280
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When he went to church

281
00:21:07,000 --> 00:21:09,000
or he said his prayers with his mother,

282
00:21:09,000 --> 00:21:10,000
that was at home.

283
00:21:10,000 --> 00:21:14,000
That wasn't something that the people at the Factory would know.

284
00:21:14,000 --> 00:21:22,000
And of course, he had his crucifix above his bed that was always there.

285
00:21:22,000 --> 00:21:26,000
Oh, I think the crucifixes were always all over the house.

286
00:21:28,000 --> 00:21:30,000
After I was there for a little bit,

287
00:21:30,000 --> 00:21:32,000
he would come down in his jockeys.

288
00:21:32,000 --> 00:21:35,000
And it's so funny because he came down in his jockeys

289
00:21:35,000 --> 00:21:38,000
but he had those sunglasses on and he had his wig on,

290
00:21:38,000 --> 00:21:41,000
although I never knew it was a wig back then.

291
00:21:41,000 --> 00:21:51,000
It was just a person who had thinning hair covering that up.

292
00:21:51,000 --> 00:21:57,000
After working with him for one year, I was skinny and part of the scene.

293
00:21:57,000 --> 00:22:00,000
You know?

294
00:22:00,000 --> 00:22:03,000
or was somebody telling you, "You need to do this"? No, no, no.

295
00:22:03,000 --> 00:22:08,000
You knew that being thin was the ideal.

296
00:22:08,000 --> 00:22:12,000
And you just did it by being so busy.

297
00:22:12,000 --> 00:22:13,000
We'd walk onto the kerb

298
00:22:13,000 --> 00:22:17,000
and at that time there was no traffic here at all.

299
00:22:17,000 --> 00:22:22,000
And Andy would step on the kerb and he'd go like this.

300
00:22:22,000 --> 00:22:25,000
Cos that's the way that Andy hailed a cab.

301
00:22:25,000 --> 00:22:30,000
Sort of a little bit twinkling of his fingertips, like that.

302
00:22:30,000 --> 00:22:32,000
Did it work much or not really?

303
00:22:32,000 --> 00:22:40,000
It did. Oh, hang on. Here we go! It did! And lo and behold.

304
00:22:40,000 --> 00:22:43,000
Look at this one.

305
00:22:43,000 --> 00:22:47,000
47th Street between 2nd and 3rd.

306
00:22:58,000 --> 00:23:00,000
A lot of times Andy would look out the window

307
00:23:00,000 --> 00:23:04,000
and he would sort of space out and get his act together.

308
00:23:05,000 --> 00:23:07,000
You could see an actual transformation

309
00:23:07,000 --> 00:23:09,000
before your very eyes, as it were? Yes,

310
00:23:09,000 --> 00:23:12,000
he got in his cab and he would decompress.

311
00:23:12,000 --> 00:23:15,000
He was quiet and he would look out the windows,

312
00:23:15,000 --> 00:23:17,000
because when we got to the Factory,

313
00:23:17,000 --> 00:23:23,000
he emerged and everybody went to him.

314
00:23:23,000 --> 00:23:26,000
Everybody had something that they wanted him to do.

315
00:23:26,000 --> 00:23:29,000
I saw that happen time and time again.

316
00:23:30,000 --> 00:23:35,000
Andy and Joey arrive at the Factory at about 1:45.

317
00:23:35,000 --> 00:23:38,000
We're on 47th Street between 2nd and 3rd.

318
00:23:38,000 --> 00:23:40,000
And the Factory would have been over there,

319
00:23:40,000 --> 00:23:42,000
where that brick wall,

320
00:23:42,000 --> 00:23:45,000
that half brick wall is.

321
00:23:45,000 --> 00:23:49,000
And it would have been maybe three windows wide.

322
00:23:49,000 --> 00:23:51,000
It wasn't a big building.

323
00:23:51,000 --> 00:23:54,000
And I think there were only maybe eight floors

324
00:23:54,000 --> 00:23:56,000
in the entire building.

325
00:23:59,000 --> 00:24:01,000
A key thrown down to the street

326
00:24:01,000 --> 00:24:04,000
would get you into the studio freight elevator.

327
00:24:09,000 --> 00:24:12,000
LAUGHTER

328
00:24:12,000 --> 00:24:16,000
I thought maybe you'd like to see it. Oh, I do.

329
00:24:16,000 --> 00:24:19,000
When Warhol finally arrives at the Factory at around two

330
00:24:19,000 --> 00:24:23,000
o'clock in the afternoon, the needs and challenges of running

331
00:24:23,000 --> 00:24:27,000
an expanding multimedia enterprise await him.

332
00:24:27,000 --> 00:24:31,000
Has anyone important called? Was the film stock picked up at Kodak?

333
00:24:31,000 --> 00:24:37,000
Has the latest version of some Flower silk-screens arrived for Gerard?

334
00:24:37,000 --> 00:24:42,000
Did Henry confirm for lunch? Can that press interview be pushed back?

335
00:24:42,000 --> 00:24:46,000
And which party invite to accept this evening?

336
00:24:46,000 --> 00:24:50,000
And while all that's going on, on Sundays the Velvet Underground, the

337
00:24:50,000 --> 00:24:54,000
new rock group Andy was producing, would turn up for a rehearsal.

338
00:24:57,000 --> 00:25:01,000
This is the buzzing silver Factory kingdom of Andy Warhol

339
00:25:01,000 --> 00:25:03,000
in the mid-'60s.

340
00:25:03,000 --> 00:25:06,000
Victor Bockris was a Factory regular

341
00:25:06,000 --> 00:25:10,000
and the unauthorised biographer of Andy Warhol.

342
00:25:10,000 --> 00:25:11,000
Was there a court?

343
00:25:11,000 --> 00:25:14,000
Yes, of course, the Factory was a court. Absolutely.

344
00:25:14,000 --> 00:25:17,000
He had his jester in Ondine.

345
00:25:17,000 --> 00:25:20,000
Ondine, who called himself the Pope, is an amphetamine head

346
00:25:20,000 --> 00:25:26,000
known for his scathing wit and his appearances in several Warhol films.

347
00:25:26,000 --> 00:25:32,000
He had his prime minister in Malanga. He had his manager in Billy Name.

348
00:25:32,000 --> 00:25:34,000
Billy Name is a lighting designer who also gave

349
00:25:34,000 --> 00:25:37,000
the Factory its distinctive silver look.

350
00:25:37,000 --> 00:25:41,000
He had his female companions. The king was always the girl of the year.

351
00:25:42,000 --> 00:25:43,000
Yes, it was a court.

352
00:25:43,000 --> 00:25:48,000
His closest artistic associates compared him to Louis XIV.

353
00:25:49,000 --> 00:25:52,000
His presence was everything. His presence was so...

354
00:25:52,000 --> 00:25:54,000
That's like Louis XIV.

355
00:25:54,000 --> 00:25:59,000
Yeah, his presence was so powerful. People would die for him.

356
00:25:59,000 --> 00:26:02,000
Literally, people would die for him.

357
00:26:02,000 --> 00:26:06,000
Look at his self-portraits. This great thing like... He's very regal.

358
00:26:06,000 --> 00:26:07,000
He's a king.

359
00:26:12,000 --> 00:26:14,000
In spite of all the new initiatives,

360
00:26:14,000 --> 00:26:18,000
the silk-screens remain at the core of Factory production.

361
00:26:18,000 --> 00:26:22,000
Gerard's wrapping up the smallest edition of some recently

362
00:26:22,000 --> 00:26:25,000
completed prints in the Flower series.

363
00:26:25,000 --> 00:26:29,000
It was very easy to multiply the Flower paintings

364
00:26:29,000 --> 00:26:30,000
just like in nature.

365
00:26:30,000 --> 00:26:36,000
He wanted... Everybody would have the opportunity to own an original

366
00:26:36,000 --> 00:26:40,000
painting, even though it was the same as another original painting.

367
00:26:40,000 --> 00:26:43,000
So we must have silk-screened close to 100 paintings.

368
00:26:44,000 --> 00:26:48,000
But it's the new films of Warhol which are consuming his energy

369
00:26:48,000 --> 00:26:51,000
and are starting to generate publicity,

370
00:26:51,000 --> 00:26:54,000
albeit mostly as objects of ridicule.

371
00:26:54,000 --> 00:26:57,000
They seem kind of inhuman, the movies.

372
00:26:58,000 --> 00:27:00,000
No, they were supposed to be just very real.

373
00:27:01,000 --> 00:27:05,000
And like it's called instant movie, instant sound. Everything is...

374
00:27:05,000 --> 00:27:09,000
You don't cut anything out, everything is left in.

375
00:27:09,000 --> 00:27:13,000
But it's very machine-like. Oh, yes.

376
00:27:13,000 --> 00:27:15,000
The camera is going on, you're sitting over here.

377
00:27:15,000 --> 00:27:17,000
Yeah, you don't have to watch the movie.

378
00:27:17,000 --> 00:27:19,000
I mean, it takes it all by itself.

379
00:27:24,000 --> 00:27:29,000
At usually two o'clock, I met the film-maker at the Cinematheque

380
00:27:29,000 --> 00:27:34,000
and maybe I would call Andy or Andy would call me.

381
00:27:35,000 --> 00:27:38,000
Jonas Mekas was the Cecil B DeMille of underground

382
00:27:38,000 --> 00:27:41,000
cinema in New York in the '60s.

383
00:27:41,000 --> 00:27:46,000
He screened, promoted and even shot films of Andy Warhol.

384
00:27:46,000 --> 00:27:53,000
Of course, nobody took early, first films of Andy's seriously.

385
00:27:53,000 --> 00:27:57,000
I was the only one who was screening them.

386
00:27:57,000 --> 00:28:00,000
And Jonas gave Sleep its world premiere.

387
00:28:00,000 --> 00:28:05,000
But I never saw Sleep from the beginning to end.

388
00:28:05,000 --> 00:28:07,000
Well, maybe that was a blessing,

389
00:28:07,000 --> 00:28:09,000
because some people said it was very boring.

390
00:28:11,000 --> 00:28:16,000
As boring as any painting, any modern painting,

391
00:28:16,000 --> 00:28:20,000
like Malevich's The Black Square.

392
00:28:20,000 --> 00:28:25,000
You can say it is boring. You know? But it is a masterpiece.

393
00:28:25,000 --> 00:28:30,000
It's a landmark in the art of painting.

394
00:28:30,000 --> 00:28:36,000
So, you sit. Hang on a minute, Jonas. Now, I will tie you up to the chair!

395
00:28:36,000 --> 00:28:37,000
For audiences,

396
00:28:37,000 --> 00:28:41,000
Andy's excruciatingly unhurried films were a challenge to the mind.

397
00:28:41,000 --> 00:28:43,000
And also the buttocks.

398
00:28:43,000 --> 00:28:46,000
Mekas once tied him to his cinema seat to make sure

399
00:28:46,000 --> 00:28:50,000
he viewed his own film Sleep in its entirety

400
00:28:50,000 --> 00:28:53,000
and suffered for his art like the other moviegoers.

401
00:28:53,000 --> 00:28:57,000
Like that. No wonder you didn't have huge audiences at your cinema club

402
00:28:57,000 --> 00:28:59,000
if this is how you treated the patrons!

403
00:29:12,000 --> 00:29:14,000
It may just be a diet pill.

404
00:29:14,000 --> 00:29:17,000
Or maybe a frozen hot chocolate at Serendipity,

405
00:29:17,000 --> 00:29:22,000
a short walk away from the Factory.

406
00:29:22,000 --> 00:29:41,000
So, what time would you expect to see Andy at your tables?

407
00:29:43,000 --> 00:29:45,000
Andy has been coming to Serendipity

408
00:29:45,000 --> 00:29:49,000
since his days as a graphic artist back in the late '50s.

409
00:29:51,000 --> 00:29:55,000
Oh, my goodness, look at this. Here's our famous drink.

410
00:29:58,000 --> 00:30:02,000
Frozen hot chocolate. This is nectar of the gods. Exactly.

411
00:30:02,000 --> 00:30:06,000
So, you know, at this table, this was Andy's favourite table.

412
00:30:06,000 --> 00:30:09,000
And I would always reserve it when I saw him at the door.

413
00:30:09,000 --> 00:30:13,000
And I would say, "Your table is ready," and he'd of course come with

414
00:30:13,000 --> 00:30:15,000
an entourage of five or six, up to ten people.

415
00:30:15,000 --> 00:30:19,000
He would put his tape recorder here, right in the centre,

416
00:30:19,000 --> 00:30:24,000
and order food for everyone and just let people talk.

417
00:30:24,000 --> 00:30:25,000
In the beginning, we saw him

418
00:30:25,000 --> 00:30:29,000
after he made his rounds on Madison Avenue and Glamour magazine.

419
00:30:29,000 --> 00:30:32,000
And then we'd sit down, because lunch would be over

420
00:30:32,000 --> 00:30:34,000
and it would be a quiet time.

421
00:30:34,000 --> 00:30:37,000
We were just two friends talking and we discussed all

422
00:30:37,000 --> 00:30:40,000
the things about what he should do, what he shouldn't do.

423
00:30:40,000 --> 00:30:42,000
Or what he couldn't do.

424
00:30:42,000 --> 00:30:44,000
That was an interesting aspect of Andy,

425
00:30:44,000 --> 00:30:49,000
that he was not only open to ideas from his friends,

426
00:30:49,000 --> 00:30:54,000
like yourself, and his contacts, but he almost depended on it. Do you...?

427
00:30:54,000 --> 00:31:00,000
Yes, I agree with that, 100%. I think

428
00:31:00,000 --> 00:31:03,000
# I'm in with the in crowd... #

429
00:31:03,000 --> 00:31:06,000
Lunch is a time to plan an exhibition of new silk-screens,

430
00:31:06,000 --> 00:31:10,000
or ask friends and colleagues for their ideas.

431
00:31:10,000 --> 00:31:13,000
And Andy would get good ones at Serendipity.

432
00:31:15,000 --> 00:31:17,000
From the early '60s,

433
00:31:17,000 --> 00:31:22,000
Andy regularly had lunch here with his close friend Henry Geldzahler.

434
00:31:22,000 --> 00:31:25,000
Henry was the curator of contemporary

435
00:31:25,000 --> 00:31:28,000
art at the Metropolitan Museum of Art.

436
00:31:28,000 --> 00:31:32,000
There's a story which I hope you can clarify about him being here

437
00:31:32,000 --> 00:31:37,000
with Henry Geldzahler, and Henry had a copy of the Daily News.

438
00:31:37,000 --> 00:31:39,000
Some terrible accident had happened,

439
00:31:39,000 --> 00:31:43,000
nearly 130 people being killed in a plane crash.

440
00:31:43,000 --> 00:31:47,000
Do you recall that day and how it influenced art history,

441
00:31:47,000 --> 00:31:50,000
if I might put it grandly?

442
00:31:50,000 --> 00:31:52,000
I do recall that day, because it was sensational.

443
00:31:52,000 --> 00:31:56,000
All over the paper, every paper had those headlines.

444
00:31:56,000 --> 00:32:05,000
And they were both here discussing. I didn't stick my nose into the...

445
00:32:05,000 --> 00:32:08,000
but I know the newspapers were on the table.

446
00:32:08,000 --> 00:32:15,000
So maybe history was written here. I don't know.

447
00:32:15,000 --> 00:32:17,000
Over lunch with Henry,

448
00:32:17,000 --> 00:32:21,000
an idea was discussed which may have directly led to the powerful,

449
00:32:21,000 --> 00:32:26,000
dark and controversial Death and Disaster series of silk-screens

450
00:32:26,000 --> 00:32:32,000
that redefined Warhol's output in the mid-1960s.

451
00:32:32,000 --> 00:32:34,000
So, shall we dig in? Let's try.

452
00:32:34,000 --> 00:32:37,000
After you. In memory of Andy, it was one of his favourite...

453
00:32:37,000 --> 00:32:43,000
I think he'd have liked it if we did. Of course.

454
00:32:43,000 --> 00:32:44,000
It's interesting.

455
00:32:44,000 --> 00:32:50,000
There's a kind of marshmallowy top and then this refreshing, cold rush.

456
00:32:50,000 --> 00:32:53,000
Like a melting glacier in the mouth... Exactly.

457
00:32:53,000 --> 00:32:58,000
..of the icy bottom, if I can put it that way. Yes, I like your explanation.

458
00:33:00,000 --> 00:33:04,000
After lunch, Warhol hit the nearest payphone to call the carpenter

459
00:33:04,000 --> 00:33:09,000
he paid 365 bucks to build the wooden boxes on which he'll

460
00:33:09,000 --> 00:33:13,000
make his now famous silk-screens of Brillo Pad boxes.

461
00:33:13,000 --> 00:33:17,000
Andy wants another 30 boxes.

462
00:33:17,000 --> 00:33:21,000
We had to find a carpenter to make these boxes.

463
00:33:21,000 --> 00:33:23,000
They had to be lightweight. We had to paint every box.

464
00:33:23,000 --> 00:33:27,000
But we had a silkscreen one side of a whole series of boxes.

465
00:33:28,000 --> 00:33:31,000
So it was basically five sides to a box.

466
00:33:31,000 --> 00:33:34,000
It almost seemed like a very Duchampian idea, actually,

467
00:33:34,000 --> 00:33:37,000
to find a three-dimensional ready-made.

468
00:33:37,000 --> 00:33:40,000
And Andy was very good at executing ideas.

469
00:33:42,000 --> 00:33:46,000
The Brillo boxes were selling wholesale for $300 each

470
00:33:46,000 --> 00:33:48,000
at Warhol's gallery.

471
00:33:48,000 --> 00:33:53,000
But a cash offer of 50 bucks on the side might also get you one.

472
00:33:53,000 --> 00:33:56,000
Whatever it took to keep the lights on at the Factory.

473
00:34:00,000 --> 00:34:03,000
After that, Andy jumps in a cab to head back to the Factory.

474
00:34:07,000 --> 00:34:13,000
Between three and 4:30pm is prime time for filming the Screen Tests.

475
00:34:16,000 --> 00:34:20,000
Screen Tests would translate Warhol's passion for doing

476
00:34:20,000 --> 00:34:28,000
portraits into real-time encounters with a movie camera. Say cheese!

477
00:34:28,000 --> 00:34:32,000
Can we do a cheese movie? All you have to do is say, "Cheese, cheese".

478
00:34:32,000 --> 00:34:38,000
All right. No, the next segment could be a cheese movie. All right?

479
00:34:38,000 --> 00:34:41,000
What's the spirit of this one? Just... You don't have to do anything.

480
00:34:43,000 --> 00:34:47,000
Just what you're doing. Can I move? Yeah, you can move.

481
00:34:48,000 --> 00:34:50,000
But not too much.

482
00:34:50,000 --> 00:34:52,000
HIS CAMERA WHIRS INTO ACTION

483
00:34:52,000 --> 00:34:54,000
How come your camera doesn't make any noise?

484
00:34:56,000 --> 00:35:01,000
These silent, three-minute black and white portraits of the famous

485
00:35:01,000 --> 00:35:06,000
and the unknown have been likened to modern-day Rembrandts,

486
00:35:06,000 --> 00:35:10,000
with their uncanny power to reveal personality

487
00:35:10,000 --> 00:35:14,000
while their subjects were being directed to do nothing.

488
00:35:16,000 --> 00:35:19,000
For Warhol, the Screen Tests might discover the next

489
00:35:19,000 --> 00:35:22,000
superstar for his alternative Hollywood.

490
00:35:25,000 --> 00:35:29,000
At the same time, they were also a rite of passage for those

491
00:35:29,000 --> 00:35:32,000
invited to be part of the Factory scene.

492
00:35:38,000 --> 00:35:42,000
The camera on which all the Screen Tests were shot was bought by Andy and

493
00:35:42,000 --> 00:35:47,000
Gerard at a shop called Peerless, since bought out by Willoughby's.

494
00:35:49,000 --> 00:35:53,000
Willoughby's still has some vintage camera equipment in stock.

495
00:35:53,000 --> 00:35:57,000
..two or three locations. Right? How are you doing? Good afternoon.

496
00:35:57,000 --> 00:35:59,000
What can we get for you?

497
00:35:59,000 --> 00:36:02,000
Well, we were curious about this early model Bolex.

498
00:36:02,000 --> 00:36:05,000
The Bolex purchased in the winter of '63 was

499
00:36:05,000 --> 00:36:11,000
the beginning of the end of one Warhol era and the start of another.

500
00:36:11,000 --> 00:36:15,000
How long is it since you've handled one of these, Gerard? Years?

501
00:36:15,000 --> 00:36:20,000
I would say... 1968. Is that right? Yeah.

502
00:36:20,000 --> 00:36:24,000
And then you'd put it on a tripod, would you? No, no, hand-held.

503
00:36:24,000 --> 00:36:29,000
Hand-held always. You could... We put it on the tripod for the Screen Tests.

504
00:36:29,000 --> 00:36:33,000
Do you recall, now, how many Screen Tests you did?

505
00:36:33,000 --> 00:36:39,000
We did somewhere between 480 and 500. Gosh.

506
00:36:39,000 --> 00:36:41,000
It's nice. It's...kind of...

507
00:36:41,000 --> 00:36:45,000
I haven't held one of these in a long time, actually.

508
00:36:45,000 --> 00:36:49,000
Yeah, oh, I see you are looking at it through this viewfinder. All right.

509
00:36:50,000 --> 00:36:52,000
I see! I like it.

510
00:36:55,000 --> 00:36:59,000
An afternoon Screen Test transformed an uptown housewife whom

511
00:36:59,000 --> 00:37:04,000
Warhol met near Bloomingdale's into one of his first superstars.

512
00:37:08,000 --> 00:37:12,000
Oh, my God, I love that blouse! Which one? And I love that... This one.

513
00:37:12,000 --> 00:37:15,000
It's so pretty. It's like a hoodie. A see-through hoodie.

514
00:37:15,000 --> 00:37:17,000
Yeah, but it's beautiful.

515
00:37:17,000 --> 00:37:20,000
And I love this pink and the flowers. Yum.

516
00:37:20,000 --> 00:37:22,000
That would be great for me at Palm Beach.

517
00:37:25,000 --> 00:37:31,000
We did lots of Screen Tests. Oh, gosh, I guess I did 11. 11?

518
00:37:31,000 --> 00:37:36,000
That's a lot. And what were you doing while the camera was rolling?

519
00:37:36,000 --> 00:37:38,000
Oh, he'd tell me things like, "Don't blink".

520
00:37:38,000 --> 00:37:42,000
You try not to blink for three minutes. It's really hard.

521
00:37:47,000 --> 00:37:51,000
So you had a great look. That's partly what he liked about you.

522
00:37:51,000 --> 00:37:55,000
What did you get out of it? Why were you associating with him?

523
00:37:55,000 --> 00:37:57,000
Well, I don't know.

524
00:37:57,000 --> 00:37:59,000
What I got out of it was not being a bored housewife.

525
00:38:04,000 --> 00:38:08,000
What about Andy's habit of making somebody a superstar

526
00:38:08,000 --> 00:38:11,000
and then they were yesterday's plaything?

527
00:38:11,000 --> 00:38:14,000
You know, that really isn't how it worked,

528
00:38:14,000 --> 00:38:16,000
because everybody remained a superstar.

529
00:38:16,000 --> 00:38:20,000
It just depended what you did with your life, you know? I see.

530
00:38:22,000 --> 00:38:24,000
MUSIC: Baby Love by The Supremes

531
00:38:26,000 --> 00:38:29,000
Bibbe Hansen had her chance encounter with Warhol

532
00:38:29,000 --> 00:38:34,000
while she was in a diner with her dad, who happened to know Andy.

533
00:38:34,000 --> 00:38:37,000
Suddenly I felt these eyes peering at me

534
00:38:37,000 --> 00:38:42,000
and Andy leaned over the table and said, "And you?

535
00:38:42,000 --> 00:38:44,000
"What do you do?"

536
00:38:45,000 --> 00:38:52,000
And my father leapt up, very proudly, and said, "I just sprung her from jail!"

537
00:38:53,000 --> 00:38:55,000
"Thanks, Dad(!)"

538
00:38:55,000 --> 00:38:59,000
Warhol was eager to hear more about this young delinquent

539
00:38:59,000 --> 00:39:02,000
and her stories of truancy, shoplifting, drugs and prison.

540
00:39:04,000 --> 00:39:08,000
So, far from you being this kind of innocent that the Factory exploited,

541
00:39:08,000 --> 00:39:11,000
you'd have been amongst the toughest cookies in there, probably,

542
00:39:11,000 --> 00:39:15,000
even at 14, wouldn't you? Yes, I would think so.

543
00:39:15,000 --> 00:39:17,000
I mean, it was on a par, certainly.

544
00:39:19,000 --> 00:39:23,000
Sure enough, she received a Screen Test invite from Andy.

545
00:39:26,000 --> 00:39:32,000
I instantly knew that it was a vetting process. I mean, I got it.

546
00:39:32,000 --> 00:39:36,000
Bibbe would end up co-starring in a Warhol film about prison,

547
00:39:36,000 --> 00:39:40,000
with his newest Factory superstar, Edie Sedgwick.

548
00:39:40,000 --> 00:39:44,000
She told me the best, most black eyeliner that you could get.

549
00:39:45,000 --> 00:39:48,000
And I stole her one.

550
00:39:48,000 --> 00:39:51,000
She also taught me how to put on false eyelashes.

551
00:39:52,000 --> 00:39:55,000
And I would give her drugs.

552
00:39:55,000 --> 00:39:58,000
This bright new charismatic personality was

553
00:39:58,000 --> 00:40:03,000
considered by Warhol a possible dream ticket to the real Hollywood.

554
00:40:12,000 --> 00:40:16,000
It's a mid-afternoon fashion shoot for British photographer

555
00:40:16,000 --> 00:40:18,000
David McCabe.

556
00:40:18,000 --> 00:40:21,000
His rooftop assignment is to photograph the newest Factory

557
00:40:21,000 --> 00:40:24,000
superstar, Edie Sedgwick.

558
00:40:24,000 --> 00:40:26,000
Warhol has tagged along with Edie.

559
00:40:28,000 --> 00:40:32,000
On a whim, I just asked Andy, "Jump up on the ladder with Edie,"

560
00:40:32,000 --> 00:40:36,000
and just took that one shot with the Empire State Building behind him.

561
00:40:40,000 --> 00:40:44,000
Warhol's presence steals the show and creates an iconic image

562
00:40:44,000 --> 00:40:50,000
of the impresario and his new star that helped define the Warhol era.

563
00:41:04,000 --> 00:41:14,000
in 1964 to follow and photograph a year in his life and art.

564
00:41:14,000 --> 00:41:19,000
McCabe documented the changing scene at the Factory and Warhol's

565
00:41:19,000 --> 00:41:21,000
star-studded encounters.

566
00:41:29,000 --> 00:41:33,000
It was crucial to the image-conscious Andy that McCabe

567
00:41:33,000 --> 00:41:36,000
was on hand to capture his encounters with the famous,

568
00:41:36,000 --> 00:41:39,000
wherever and whenever they occurred.

569
00:41:43,000 --> 00:41:48,000
When he received my contact sheets, he would pore over them

570
00:41:48,000 --> 00:41:50,000
with a magnifying glass.

571
00:41:50,000 --> 00:42:12,000
And after the year was over, what Andy was doing, actually,

572
00:42:15,000 --> 00:42:22,000
He had turned into the Andy that we now know, the quiet,

573
00:42:22,000 --> 00:42:23,000
mysterious Andy.

574
00:42:28,000 --> 00:42:30,000
I mean, now everybody has, you know, they've got the paparazzi,

575
00:42:30,000 --> 00:42:32,000
they've got their own photographers.

576
00:42:32,000 --> 00:42:35,000
They curate their own brands,

577
00:42:35,000 --> 00:42:39,000
to use a couple of terrible modern coinages, don't they? Exactly.

578
00:42:39,000 --> 00:42:41,000
But he was perhaps the first. I think so.

579
00:42:47,000 --> 00:42:49,000
He really transformed himself.

580
00:42:49,000 --> 00:42:52,000
He transformed himself physically, he transformed himself emotionally,

581
00:42:52,000 --> 00:42:56,000
by not allowing emotions to interfere with his work.

582
00:42:56,000 --> 00:42:59,000
He transformed himself, you know, deeply

583
00:42:59,000 --> 00:43:03,000
and to become really one of the great beauties in the world.

584
00:43:03,000 --> 00:43:04,000
Andy Warhol...

585
00:43:04,000 --> 00:43:07,000
There are photographs of Andy Warhol that are just, like,

586
00:43:07,000 --> 00:43:08,000
incredibly beautiful.

587
00:43:11,000 --> 00:43:14,000
But close friends of Warhol knew that the image he worked

588
00:43:14,000 --> 00:43:19,000
around the clock to create and maintain was just that -

589
00:43:19,000 --> 00:43:20,000
an image.

590
00:43:20,000 --> 00:43:22,000
He thought himself ugly.

591
00:43:22,000 --> 00:43:26,000
But when you saw Andy naked - he looked like a beautiful boy.

592
00:43:26,000 --> 00:43:30,000
I'd say, "Andy, don't you look at yourself in the mirror? You're beautiful."

593
00:43:32,000 --> 00:43:35,000
And then on this beautiful body sat the Andy Warhol head

594
00:43:35,000 --> 00:43:36,000
with the wig!

595
00:43:40,000 --> 00:43:42,000
And he, of course, he had a big dick...

596
00:43:42,000 --> 00:43:44,000
A... Quite a big dick.

597
00:43:46,000 --> 00:43:50,000
At around 4.30 in the afternoon, Andy playfully heads to a

598
00:43:50,000 --> 00:43:54,000
Times Square photo booth a few blocks from the Factory,

599
00:43:54,000 --> 00:43:57,000
to take some self-portraits his way -

600
00:43:57,000 --> 00:44:00,000
fast, cheap and easy.

601
00:44:00,000 --> 00:44:03,000
In spite of anxieties about his looks,

602
00:44:03,000 --> 00:44:05,000
Andy never met a photo booth he didn't like.

603
00:44:07,000 --> 00:44:10,000
So, in the spirit of Andy, I'm getting made up

604
00:44:10,000 --> 00:44:12,000
for my close-up.

605
00:44:12,000 --> 00:44:14,000
John Richardson, the biographer of Picasso,

606
00:44:14,000 --> 00:44:17,000
who knew Warhol, said this about him,

607
00:44:17,000 --> 00:44:22,000
"He hid his blotchy looks behind a smokescreen of windswept wigs,

608
00:44:22,000 --> 00:44:25,000
"unevenly dyed eyebrows, heavy layers of calamine

609
00:44:25,000 --> 00:44:27,000
"and Harpo Marx mutism."

610
00:44:29,000 --> 00:44:32,000
Of course, I don't really need this, I'm a natural English rose,

611
00:44:32,000 --> 00:44:34,000
but thanks anyway.

612
00:44:34,000 --> 00:44:38,000
By the mid '60s Andy often turned up at photo booths with a

613
00:44:38,000 --> 00:44:42,000
roll of quarters, to shoot himself or for a growing franchise

614
00:44:42,000 --> 00:44:44,000
of commissioned portraits.

615
00:44:45,000 --> 00:44:48,000
Here she is - what a beauty.

616
00:44:48,000 --> 00:44:52,000
Guaranteed to get your photos in two and a half minutes, folks.

617
00:44:52,000 --> 00:44:54,000
None of that hanging about for three minutes.

618
00:45:02,000 --> 00:45:04,000
I like the instructions here -

619
00:45:04,000 --> 00:45:07,000
Number three - "Attempt to look good."

620
00:45:07,000 --> 00:45:10,000
It's as if they knew I was coming, "Attempt to look good."

621
00:45:10,000 --> 00:45:13,000
And number four - "Have a drink. Your photos will be delivered

622
00:45:13,000 --> 00:45:15,000
"in four to five minutes."

623
00:45:15,000 --> 00:45:16,000
That's service.

624
00:45:19,000 --> 00:45:22,000
OPERATIC SINGING

625
00:45:29,000 --> 00:45:32,000
The photo booth was used by Warhol for his first

626
00:45:32,000 --> 00:45:37,000
commissioned portrait of the collector Ethel Scull in 1963.

627
00:45:37,000 --> 00:45:39,000
I thought, "Where are we going?"

628
00:45:39,000 --> 00:45:41,000
"Just down to 42nd Street and Broadway."

629
00:45:41,000 --> 00:45:43,000
I said, "What are we going to do there?"

630
00:45:43,000 --> 00:45:46,000
He says, "I'm going to take pictures of you."

631
00:45:46,000 --> 00:45:48,000
I said, "For what?" He said, "For the portrait."

632
00:45:48,000 --> 00:45:53,000
I said, "In those things?" I said, "My God, I'll look terrible."

633
00:45:53,000 --> 00:45:56,000
He said, "Don't worry." And he took out -

634
00:45:56,000 --> 00:45:58,000
he had coins, about $100 worth of silver coins.

635
00:45:58,000 --> 00:46:02,000
And he said, "We'll take the high key and the low key,

636
00:46:02,000 --> 00:46:06,000
"and I'll push you inside and you watch the little red light."

637
00:46:06,000 --> 00:46:09,000
By the mid-'60s, photo booth portraits were an important

638
00:46:09,000 --> 00:46:12,000
source of income for Warhol.

639
00:46:12,000 --> 00:46:15,000
Ethel paid $700 for hers -

640
00:46:15,000 --> 00:46:19,000
adjusted for inflation - $6,000.

641
00:46:19,000 --> 00:46:22,000
The photo booth helped pay the costs of running the Factory,

642
00:46:22,000 --> 00:46:24,000
one quarter at a time.

643
00:46:27,000 --> 00:46:31,000
Before Andy, the photo booth was a largely functional place,

644
00:46:31,000 --> 00:46:34,000
to get your ID or your passport sorted out.

645
00:46:34,000 --> 00:46:38,000
After all, not every family had its own camera in those days.

646
00:46:38,000 --> 00:46:42,000
But it was small wonder that Warhol saw the potential for art

647
00:46:42,000 --> 00:46:44,000
in this extraordinary space.

648
00:46:44,000 --> 00:46:47,000
On the one hand, it threw forward to the selfie

649
00:46:47,000 --> 00:46:50,000
that we're obsessed with and deluged by today.

650
00:46:50,000 --> 00:46:55,000
On the other hand, though, the photo booth, the confines,

651
00:46:55,000 --> 00:46:58,000
the screen, the darkness, recalled nothing so much as

652
00:46:58,000 --> 00:47:01,000
the confessional of his Catholic upbringing.

653
00:47:05,000 --> 00:47:08,000
In anticipation of the evening's activities,

654
00:47:08,000 --> 00:47:11,000
between six and seven o'clock Warhol would make a quick

655
00:47:11,000 --> 00:47:15,000
round trip to his townhouse to "get glued."

656
00:47:15,000 --> 00:47:19,000
Getting glued was his expression for wig and make-up management.

657
00:47:19,000 --> 00:47:23,000
He'd also put on a fresh splash of his favourite cologne -

658
00:47:23,000 --> 00:47:24,000
Eau de Savage.

659
00:47:26,000 --> 00:47:28,000
BRIGID: I didn't want to be with Andy at night,

660
00:47:28,000 --> 00:47:31,000
I'd been with him all day.

661
00:47:31,000 --> 00:47:34,000
I'd look at the clock, and I'd say,

662
00:47:34,000 --> 00:47:36,000
"I'm getting out of here."

663
00:47:36,000 --> 00:47:40,000
He'd look closely down at his watch -

664
00:47:40,000 --> 00:47:45,000
with his eyes one inch away from the face of the watch.

665
00:47:45,000 --> 00:47:51,000
And he'd say, "Brig, why are you leaving?

666
00:47:51,000 --> 00:47:53,000
"The fun is just beginning."

667
00:47:59,000 --> 00:48:03,000
The favourite time of the day was at the beginning of the evening,

668
00:48:03,000 --> 00:48:06,000
like, at seven o'clock, because that was the beginning of the night,

669
00:48:06,000 --> 00:48:08,000
whatever party it was.

670
00:48:08,000 --> 00:48:11,000
From seven o'clock at night to four in the morning

671
00:48:11,000 --> 00:48:15,000
is peak partying time for Warhol and his entourage -

672
00:48:15,000 --> 00:48:16,000
almost nightly.

673
00:48:16,000 --> 00:48:20,000
The evening circuit might begin at an uptown gallery opening...

674
00:48:23,000 --> 00:48:28,000
..then move on to a fashion banquet at the Waldorf Astoria.

675
00:48:28,000 --> 00:48:30,000
Sometimes Andy would get invited to a very, you know,

676
00:48:30,000 --> 00:48:33,000
exclusive dinner somewhere!

677
00:48:33,000 --> 00:48:37,000
Warhol was the best possible guest for any self-respecting

678
00:48:37,000 --> 00:48:40,000
New York host or hostess.

679
00:48:40,000 --> 00:48:43,000
It might be some museum patrons enjoying a light snack at the

680
00:48:43,000 --> 00:48:45,000
St Regis Hotel.

681
00:48:48,000 --> 00:48:51,000
Warhol once said he'd go to the opening of anything -

682
00:48:51,000 --> 00:48:52,000
even a toilet seat.

683
00:48:54,000 --> 00:48:59,000
Andy had to show up, Andy had to tap-dance for his supper.

684
00:48:59,000 --> 00:49:03,000
And he had to hobnob with the rich and famous.

685
00:49:03,000 --> 00:49:06,000
Andy wanted to have some kind of power.

686
00:49:06,000 --> 00:49:08,000
He wanted to possess a certain kind of power...

687
00:49:10,000 --> 00:49:14,000
..possessing a power that could manipulate the media,

688
00:49:14,000 --> 00:49:19,000
or possessing a power where he... he could make money.

689
00:49:19,000 --> 00:49:23,000
But it almost always ends up with Andy holding court,

690
00:49:23,000 --> 00:49:26,000
and his entourage falling apart at the seams

691
00:49:26,000 --> 00:49:31,000
at Max's Kansas City in the wee small hours of the morning.

692
00:49:31,000 --> 00:49:34,000
Andy enjoyed himself, and he did stay out late sometimes.

693
00:49:34,000 --> 00:49:37,000
But it wasn't something that he wanted to do all the time -

694
00:49:37,000 --> 00:49:38,000
it could be a bit tiring.

695
00:49:45,000 --> 00:49:48,000
As a complete change of pace from all-night partying,

696
00:49:48,000 --> 00:49:52,000
Warhol would occasionally use the slot from seven at night

697
00:49:52,000 --> 00:49:54,000
to four in the morning to make a movie.

698
00:49:58,000 --> 00:50:03,000
In 1964, Andy bought himself a new Auricon film camera.

699
00:50:05,000 --> 00:50:09,000
It held much larger reels of film than the old Bolex,

700
00:50:09,000 --> 00:50:11,000
and it could record sound.

701
00:50:13,000 --> 00:50:16,000
But Warhol's first film with his new sound camera

702
00:50:16,000 --> 00:50:19,000
wasn't going to have a soundtrack at all.

703
00:50:19,000 --> 00:50:23,000
The irony is we shot a sound movie without sound.

704
00:50:23,000 --> 00:50:25,000
We made a silent movie with a sound movie camera.

705
00:50:51,000 --> 00:50:54,000
John Palmer suggested the idea for this evening's new film -

706
00:50:54,000 --> 00:50:56,000
and Andy was running with it.

707
00:50:58,000 --> 00:51:01,000
Tonight, they'll gleefully subvert the fundamental rules

708
00:51:01,000 --> 00:51:06,000
and expectations of movie-making, and make underground film-making history.

709
00:51:09,000 --> 00:51:12,000
Tonight, they'll shoot the film Empire.

710
00:51:15,000 --> 00:51:18,000
It's the Memorial Day holiday weekend, when everything

711
00:51:18,000 --> 00:51:19,000
in Manhattan is shut tight...

712
00:51:21,000 --> 00:51:25,000
..including the office building from which Empire was originally shot.

713
00:51:27,000 --> 00:51:30,000
This is the window from which the original was filmed.

714
00:51:30,000 --> 00:51:35,000
The unobstructed view, though, is history.

715
00:51:35,000 --> 00:51:38,000
Gerard and I are determined to recapture one of the most

716
00:51:38,000 --> 00:51:40,000
eventful moments in the film.

717
00:51:40,000 --> 00:51:44,000
All our hopes are now pinned to this location.

718
00:51:44,000 --> 00:51:47,000
I'm told it has a rooftop garden, with an excellent view

719
00:51:47,000 --> 00:51:49,000
of the Empire State Building.

720
00:51:56,000 --> 00:52:01,000
Well, it's an excellent location. Only two things are missing -

721
00:52:01,000 --> 00:52:04,000
the garden and that unobstructed view of the building we're

722
00:52:04,000 --> 00:52:05,000
here to film.

723
00:52:08,000 --> 00:52:12,000
Poor Gerard is nearing exhaustion, the jaws of defeat are

724
00:52:12,000 --> 00:52:14,000
beginning to tighten around us.

725
00:52:22,000 --> 00:52:25,000
In the depths of despair, with time running out,

726
00:52:25,000 --> 00:52:28,000
we receive a promising tip-off about a nearby building.

727
00:52:54,000 --> 00:53:00,000
I set up the camera and I framed it and called Andy and said,

728
00:53:00,000 --> 00:53:06,000
"Take a look, is this what you want?"

729
00:53:10,000 --> 00:53:16,000
And with that command, one of the most notorious and

730
00:53:16,000 --> 00:53:20,000
was off and rolling.

731
00:53:22,000 --> 00:53:23,000
With a running time of eight hours and five minutes,

732
00:53:23,000 --> 00:53:28,000
Empire provokes ridicule amongst many who haven't viewed

733
00:53:28,000 --> 00:53:29,000
a second of it,

734
00:53:29,000 --> 00:53:32,000
and pot smoking amongst those who

735
00:53:34,000 --> 00:53:38,000
Thing is, we're not doing drugs cos it was Henry Romney's office

736
00:53:38,000 --> 00:53:42,000
at the Rockefeller Foundation, so we were clean, we were squeaky clean.

737
00:53:46,000 --> 00:53:50,000
After one hour and maybe a half, suddenly the lights go on.

738
00:53:54,000 --> 00:53:58,000
What an event! What a fantastic event like...

739
00:54:01,000 --> 00:54:04,000
..when lights went on on the Empire State Building.

740
00:54:08,000 --> 00:54:11,000
'As luck would have it, tonight's the night

741
00:54:11,000 --> 00:54:15,000
'when the lights of the Empire State Building are red, white and blue.

742
00:54:16,000 --> 00:54:19,000
'What could be more pop than that?

743
00:54:23,000 --> 00:54:27,000
'To help kill time, Gerard took verbatim notes of some

744
00:54:27,000 --> 00:54:29,000
'of the historic late-night banter.'

745
00:54:35,000 --> 00:54:39,000
Jonas Mekas - "Did you know that the Empire State Building sways?"

746
00:54:39,000 --> 00:54:43,000
Andy - "Henry, what is the meaning of action?"

747
00:54:43,000 --> 00:54:46,000
Henry - "Action is the absence of inaction."

748
00:54:48,000 --> 00:54:52,000
John - "The lack of action in the last three 1,200-foot rolls

749
00:54:52,000 --> 00:54:53,000
"is alarming."

750
00:54:55,000 --> 00:54:59,000
John - "This is the strangest shooting session I've ever been in."

751
00:54:59,000 --> 00:55:02,000
Andy - "The Empire State Building is a star."

752
00:55:05,000 --> 00:55:08,000
And at some point, Andy said, "Maybe we've had enough."

753
00:55:08,000 --> 00:55:11,000
And that's where it ended, like, eight hours later.

754
00:55:16,000 --> 00:55:20,000
But you know, sometimes Andy would prefer to avoid parties

755
00:55:20,000 --> 00:55:23,000
and late-night film-making, just to stay at home and watch

756
00:55:23,000 --> 00:55:27,000
his favourite TV comedy - I Dream Of Jeannie.

757
00:55:30,000 --> 00:55:33,000
Andy says, "OK."

758
00:55:33,000 --> 00:55:36,000
I'd say, "Andy, what are you watching?"

759
00:55:36,000 --> 00:55:39,000
He said, "Oh, Brig, I love I Dream Of Jeannie.

760
00:55:39,000 --> 00:55:42,000
"I just love it."

761
00:55:42,000 --> 00:55:44,000
Uh, Jeannie?

762
00:55:44,000 --> 00:55:47,000
Jeannie, bedtime. Bong time.

763
00:55:47,000 --> 00:55:50,000
You are going to bed so early, master? Oh, yes.

764
00:55:50,000 --> 00:55:52,000
Yeah, I got a rough day tomorrow.

765
00:55:52,000 --> 00:55:56,000
Andy says, "Why can't we get to Hollywood?"

766
00:55:56,000 --> 00:55:59,000
We used to sit in his tent and drink wine with him.

767
00:55:59,000 --> 00:56:03,000
And I'd say, "Andy, we are never going to get to Hollywood.

768
00:56:04,000 --> 00:56:08,000
"Because you don't believe in a beginning...

769
00:56:08,000 --> 00:56:12,000
"a middle...or an end."

770
00:56:12,000 --> 00:56:14,000
CANNED LAUGHTER

771
00:56:17,000 --> 00:56:21,000
But Andy Warhol didn't really need to go to Hollywood,

772
00:56:21,000 --> 00:56:25,000
his fame had already eclipsed most Hollywood A-listers.

773
00:56:25,000 --> 00:56:30,000
He once said, "A whole day of life is like a whole day of television."

774
00:56:30,000 --> 00:56:33,000
And Warhol lived his own life as if it was his

775
00:56:33,000 --> 00:56:37,000
very own hit series, in which Andy Warhol was producer,

776
00:56:37,000 --> 00:56:40,000
director, publicist and, of course, star.

777
00:56:40,000 --> 00:56:43,000
MUSIC: I'll Be Your Mirror by The Velvet Underground

778
00:56:43,000 --> 00:56:46,000
# I'll be your mirror Reflect what you are... #

779
00:56:46,000 --> 00:56:49,000
On our last day of filming in New York City,

780
00:56:49,000 --> 00:56:53,000
something extraordinary happened at three minutes to midnight

781
00:56:53,000 --> 00:56:56,000
at the eternal flame of pop consumerism,

782
00:56:56,000 --> 00:56:58,000
known as Times Square.

783
00:57:00,000 --> 00:57:03,000
It was as if Andy was magically out there, and had

784
00:57:03,000 --> 00:57:08,000
decided to help give an ending to our made-for-TV movie about him.

785
00:57:10,000 --> 00:57:13,000
All at once, Andy Warhol's Screen Tests ignited upon

786
00:57:13,000 --> 00:57:15,000
Times Square billboards.

787
00:57:17,000 --> 00:57:23,000
Edie Sedgwick, Nico - the singer of The Velvet Underground...

788
00:57:23,000 --> 00:57:27,000
He had a vision of the future in some weird way.

789
00:57:27,000 --> 00:57:29,000
I think that's what creativity is.

790
00:57:31,000 --> 00:57:34,000
Andy's whole life is based on an intuition of what's going to

791
00:57:34,000 --> 00:57:35,000
happen...next.

792
00:57:35,000 --> 00:57:38,000
And being in front of it and making it happen.

793
00:57:41,000 --> 00:57:45,000
I think Andy Warhol is the... his best creation.

794
00:57:50,000 --> 00:57:54,000
In his lifetime, some thought Warhol came from another planet.

795
00:57:54,000 --> 00:57:59,000
In fact, he hailed from somewhere equally exotic - the future.

796
00:58:02,000 --> 00:58:05,000
And as we endlessly post on social media,

797
00:58:05,000 --> 00:58:07,000
consume celebrity culture,

798
00:58:07,000 --> 00:58:12,000
or even take a selfie - we're living on Andy time.

799
00:58:13,000 --> 00:58:16,000
# I'll be your mirror... #

800
00:58:16,000 --> 00:58:19,000
Half a century on from the amphetamine-fuelled,

801
00:58:19,000 --> 00:58:23,000
sleep-deprived, superstar-obsessed creative frenzy of

802
00:58:23,000 --> 00:58:29,000
the Factory days, and Andy Warhol day hasn't really ended.

803
00:58:32,000 --> 00:58:46,000
# I'll be your mirror

804
00:58:46,000 --> 00:58:50,000
# I'll be your mirror... #