0:00:02 > 0:00:06OPERA MUSIC
0:00:12 > 0:00:14HE LAUGHS
0:00:14 > 0:00:16So glamorous!
0:00:17 > 0:00:19PHONE RINGS
0:00:20 > 0:00:24- Hello, this is Stephen, can I help you?- Um...
0:00:24 > 0:00:26I forget who I'm calling.
0:00:26 > 0:00:29- Who is this, please?- Um...
0:00:29 > 0:00:30Lavine.
0:00:30 > 0:00:33MUSIC: All Tomorrow's Parties by The Velvet Underground
0:00:33 > 0:00:36The forgetful caller was Andy Warhol.
0:00:37 > 0:00:41The call was made from a payphone painted silver, on the silver
0:00:41 > 0:00:45wall of his New York City studio called the Factory.
0:00:48 > 0:00:51When the Factory opened its doors in January 1964,
0:00:51 > 0:00:55Warhol was already a famous pop art painter.
0:00:57 > 0:01:01His depictions of everyday consumer goods and Hollywood icons had
0:01:01 > 0:01:05already jolted the art world and redefined an era.
0:01:05 > 0:01:08But in his new Factory studio,
0:01:08 > 0:01:13Warhol's creative ambitions exploded in new directions.
0:01:13 > 0:01:17He bought a movie camera and set out to become a famous film-maker.
0:01:17 > 0:01:18OK.
0:01:20 > 0:01:23He'd discover his very own screen stars...
0:01:24 > 0:01:28..and even become a rock and roll producer.
0:01:28 > 0:01:32And he went to work on perhaps the most ambitious creation
0:01:32 > 0:01:35ever to come out of the Factory...
0:01:35 > 0:01:38..Andy Warhol himself...
0:01:38 > 0:01:41the enigmatic superstar.
0:01:44 > 0:01:46OK.
0:01:46 > 0:01:47Yeah.
0:01:47 > 0:01:51MUSIC: Going To A Go-Go by The Miracles
0:01:54 > 0:01:56I'm going this way, aren't I? That's the idea.
0:01:59 > 0:02:02Warhol was called simplistic.
0:02:02 > 0:02:06- You have just copied a common item? - Yes.
0:02:06 > 0:02:09In public he was famously tight-lipped and aloof.
0:02:11 > 0:02:13But who was the real Andy Warhol?
0:02:15 > 0:02:20Where better to look than in the private details of his daily life?
0:02:21 > 0:02:24Based on unique access to Andy Warhol's planning diary,
0:02:24 > 0:02:28and with the involvement of his most intimate friends and Factory
0:02:28 > 0:02:34colleagues, I'm going to experience 24 hours living on Andy time.
0:02:40 > 0:02:45'Richard, everyone thinks that Andy was so quiet.
0:02:45 > 0:02:49'Well, I can contradict that perfectly because he never shut up.'
0:02:53 > 0:02:56Andy took speed, but by the handful.
0:02:58 > 0:03:02Before he went out, he put on a costume, he put on make-up,
0:03:02 > 0:03:04like an actor going to play a role.
0:03:06 > 0:03:10'We were doing something that I consider to be very important,'
0:03:10 > 0:03:13and that the future would recognise this.
0:03:14 > 0:03:21I'll piece together a typical day in Andy's life from the mid-1960s,
0:03:21 > 0:03:23which in true Warhol fashion should look
0:03:23 > 0:03:26and feel just like the real thing.
0:04:04 > 0:04:08'WABC, the station New York is listening to...'
0:04:13 > 0:04:18In the mid-'60s, New York was the city that proverbially never slept...
0:04:18 > 0:04:21'This is Dan Thompson, WOR-FM...'
0:04:21 > 0:04:24..and Andy Warhol was right at home.
0:04:24 > 0:04:28The pop art painter had already made people see the commercial
0:04:28 > 0:04:31world around them in a new way.
0:04:31 > 0:04:36Now any aspect of everyday life might be his raw material.
0:04:36 > 0:04:39It's a round-the-clock blur of activity.
0:04:41 > 0:04:45So our day with Andy starts not with an early-morning alarm clock...
0:04:47 > 0:04:51..but in the middle of the night, with Andy working on one of his first
0:04:51 > 0:04:54film projects, called Sleep,
0:04:54 > 0:04:58and starring his close friend, the poet John Giorno.
0:05:01 > 0:05:07It's six hours of changing camera angles of Giorno catching Z's.
0:05:11 > 0:05:15- What have we got here, John? - These are Tibetan Buddhist cushions.
0:05:15 > 0:05:20On the bottom pallet is the bed on which Sleep was filmed.
0:05:20 > 0:05:24It was a bed, it sort of had legs on, they were taken off years ago.
0:05:32 > 0:05:36It is quite an intimate thing to allow somebody to film you
0:05:36 > 0:05:39when you are in a sort of vulnerable state like that.
0:05:39 > 0:05:43Well, it never crossed my mind. It's like making love to somebody.
0:05:43 > 0:05:46Andy was a very good friend, and that was what he wanted to do,
0:05:46 > 0:05:50and I was happy to be the one that was there doing that, you know.
0:05:50 > 0:05:54You have been described as lovers. Was that right, you and Andy?
0:05:54 > 0:05:57We...we made love, we were lovers, yes.
0:05:57 > 0:06:01Why did you decide to just shoot somebody sleeping for eight hours?
0:06:03 > 0:06:08Wh... He just said that he sleeps so soundly. You can just put...
0:06:08 > 0:06:09He falls asleep,
0:06:09 > 0:06:13and he left his door open in New York, which is so strange.
0:06:13 > 0:06:15You can just walk right in.
0:06:18 > 0:06:22As he slept, Warhol couldn't sleep.
0:06:22 > 0:06:25Even if he'd wanted to.
0:06:25 > 0:06:29'In '64, Andy took speed by the handful,
0:06:29 > 0:06:31'he did something called Obedrin.'
0:06:31 > 0:06:34For me, this is incredibly important for his work,
0:06:34 > 0:06:39because what speed did for him in those years, it made him fearless.
0:06:39 > 0:06:44When he had these great ideas, he had the ability to do them.
0:06:44 > 0:06:48On behalf of all your fans and the Warhol fans who are watching this,
0:06:48 > 0:06:52would it be OK for me to touch the storied bed?
0:06:52 > 0:06:54- Oh, yes, go right ahead.- Are you sure?
0:06:54 > 0:06:57- Do anything else that you want to. - Really?
0:06:57 > 0:07:00It is that kind of atmosphere, isn't it?
0:07:00 > 0:07:03Let's have a look down here, let's check it for springiness.
0:07:03 > 0:07:07- It is very firm.- Yes, there is a little give...
0:07:07 > 0:07:09after these years, but...
0:07:09 > 0:07:13- she's still there.- It is a very old mattress, I think it is even a horsehair.
0:07:13 > 0:07:15- You know horsehair?- Is it? - Yes.- That is old school.
0:07:15 > 0:07:17- Well, thank you very much.- Yes.
0:07:23 > 0:07:29At around 4:30am, after Warhol completes filming Sleep,
0:07:29 > 0:07:33he hails a taxi and heads home to his townhouse on the Upper East Side,
0:07:33 > 0:07:35where he lives with his mother.
0:07:38 > 0:07:40He makes it home just before 5am.
0:07:54 > 0:07:57Warhol's definitely not a morning person,
0:07:57 > 0:08:00and it is his mum who usually does the shopping.
0:08:00 > 0:08:03But on rare occasions he'd stumble out of bed
0:08:03 > 0:08:07and head to this very supermarket, where he found inspiration.
0:08:09 > 0:08:13Art history settled on one key point about Andy Warhol, that the
0:08:13 > 0:08:17man enjoyed Kellogg's cornflakes almost every morning of his life.
0:08:20 > 0:08:24Now, this aisle in the supermarket had an almost sacramental
0:08:24 > 0:08:28quality for Warhol. This was the altar of the supermarket.
0:08:28 > 0:08:32It was the home of the Campbell's soup products that he painted
0:08:32 > 0:08:33so often.
0:08:33 > 0:08:37And he wasn't taking the mickey out of a ho-hum, everyday staple.
0:08:37 > 0:08:41On the contrary, to Warhol, this was the food of life,
0:08:41 > 0:08:43a square meal you could depend on.
0:08:44 > 0:08:46And he ate them almost every day.
0:08:51 > 0:08:55The Andy Warhol we think we know from those countless photographs
0:08:55 > 0:09:00and reproductions is the kooky guy who took everyday household stuff,
0:09:00 > 0:09:04Brillo Pad boxes, cans of soup, bottles of pop,
0:09:04 > 0:09:07and prodded us into seeing them in a different way.
0:09:07 > 0:09:09But there was another Warhol
0:09:09 > 0:09:13who by the mid-'60s was determined to do everything
0:09:13 > 0:09:17he could to demolish the boundaries between his art and his life.
0:09:27 > 0:09:33Even before Andy has had his routine breakfast of Kellogg's cornflakes...
0:09:33 > 0:09:35the Factory is waking up.
0:09:37 > 0:09:41And a key Factory worker has already clocked in.
0:09:42 > 0:09:46Around 10am, the studio is coming to life.
0:09:46 > 0:09:49And starting work for Warhol in 1963,
0:09:49 > 0:09:53one minimum-wage worker was intimately involved in the
0:09:53 > 0:09:58production of virtually all the iconic silkscreens in the mid-1960s.
0:10:06 > 0:10:10This hired hand was also a poet...
0:10:10 > 0:10:12and was considered the Factory stud.
0:10:15 > 0:10:17Meet Gerard Malanga.
0:10:19 > 0:10:24- Why can't you eat that?- Well, I have a cholesterol problem.- Oh, dear.
0:10:24 > 0:10:27My hours have changed.
0:10:27 > 0:10:31If I'm in the country, I go to bed at 9:30.
0:10:31 > 0:10:34I get up at six, though, because the cats want to be fed.
0:10:35 > 0:10:40He was a bit tight with wages. Do you remember what you were making?
0:10:40 > 0:10:43I do. It was embarrassing.
0:10:43 > 0:10:451.25 an hour.
0:10:45 > 0:10:49- Does that pluck at your innards slightly?- No, not at all!
0:10:49 > 0:10:52There were a lot of fringe benefits to the association,
0:10:52 > 0:10:56such as plane tickets, restaurants.
0:10:56 > 0:10:58Andy took care of all of that.
0:10:58 > 0:11:01I felt, when we were silk-screening, we were doing something that
0:11:01 > 0:11:06I considered to be very important, and that the future would recognise this.
0:11:06 > 0:11:07I already knew that.
0:11:07 > 0:11:10Did you feel that your contribution was recognised,
0:11:10 > 0:11:15because you were doing a lot of the hands-on work on these silkscreens?
0:11:15 > 0:11:18You know, a painting I silkscreened back in the '60s
0:11:18 > 0:11:22went up for auction at Christie's last week.
0:11:22 > 0:11:25A portrait of the Mona Lisa.
0:11:25 > 0:11:27What did it go for, like, 59 million?
0:11:29 > 0:11:31You know, I made that painting.
0:11:35 > 0:11:39'28 million to open it. 28 million. 30 million.'
0:11:39 > 0:11:4338 million I have. 50 million.
0:11:43 > 0:11:46Sold here at 50 million. Congratulations.
0:11:46 > 0:11:48At the then minimum wage,
0:11:48 > 0:11:5423.5 hours spent silk-screening the Warhol pictures would earn
0:11:54 > 0:11:58Gerard about 30 bucks in 1964.
0:12:00 > 0:12:04'Silk-screening with Andy was always an enjoyable situation because it was'
0:12:04 > 0:12:09the one place where he became very honest with me,
0:12:09 > 0:12:12very open with me.
0:12:12 > 0:12:17There was no facade there, as it were, we were there to create
0:12:17 > 0:12:21art, to create silkscreen paintings on canvas.
0:12:21 > 0:12:25You know, I gave him ideas for... for instance, the
0:12:25 > 0:12:28multiplication, superimposition of the Elvis paintings,
0:12:28 > 0:12:31where there would be more than one Elvis overlapping with each other.
0:12:31 > 0:12:34I said, "Let's just move the screen over a little bit
0:12:34 > 0:12:35"and we'll get a superimposition,
0:12:35 > 0:12:38"rather than just have a static image, one after the other."
0:12:38 > 0:12:39And he said, "OK, we'll try that."
0:12:39 > 0:12:43He liked that idea, and we did a number of those superimpositions.
0:12:45 > 0:12:47It is getting on for midday.
0:12:47 > 0:12:51Gerard is busy getting ink under his fingernails.
0:12:51 > 0:12:54And Andy hasn't even left the house yet,
0:12:54 > 0:12:57and will need all the help he can get to do so.
0:12:58 > 0:13:02The youngest and arguably most important worker at the Factory
0:13:02 > 0:13:07is about to leave his high school classroom in Sheepshead Bay, Brooklyn,
0:13:07 > 0:13:12jump on a subway train and head to the Upper East Side of Manhattan.
0:13:12 > 0:13:15For three years this was a daily journey from the outskirts
0:13:15 > 0:13:17of Brooklyn to another world.
0:13:19 > 0:13:22MUSIC: I'm Waiting For The Man by The Velvet Underground
0:13:22 > 0:13:25New York City is the art capital of the world, and
0:13:25 > 0:13:28Joseph Freeman, AKA Little Joey,
0:13:28 > 0:13:32is on his way to get its king out of bed.
0:13:32 > 0:13:35# I'm waiting for my man... #
0:13:39 > 0:13:44I was essentially hired by Andy to go to his house, wake him up,
0:13:44 > 0:13:47push him constantly to get ready
0:13:47 > 0:13:50so that he could be at the Factory at a reasonable time.
0:13:50 > 0:13:54Joseph was a geeky 13-year-old who heard about an artist obsessed with
0:13:54 > 0:13:58using cutting-edge tape-recording technology.
0:13:58 > 0:14:00Joseph was determined to get an interview
0:14:00 > 0:14:04with the artist for his high school newspaper.
0:14:04 > 0:14:08With New York charm and moxie, he got through to Warhol's dealer
0:14:08 > 0:14:11and eventually Andy himself.
0:14:12 > 0:14:15I got on the phone with Andy and I said, "Mr Warhol, I'm a big fan,
0:14:15 > 0:14:18"I want to interview you for my high school newspaper."
0:14:18 > 0:14:21And he said, "OK, come to the Factory."
0:14:24 > 0:14:27The interview was followed by a job offer.
0:14:29 > 0:14:32# I'm waiting for my man... #
0:14:34 > 0:14:38- Hello?- Andy, it's me. What's pop art?
0:14:38 > 0:14:43Joey would be surprised by some of the antics of Andy's friends.
0:14:43 > 0:14:47Brigid Berlin, AKA Brigid Polk, was a close friend
0:14:47 > 0:14:49and confidante of the artist.
0:14:49 > 0:14:52She liked to make breast prints, as you do.
0:14:52 > 0:14:55Minimal, conceptual. What's pop?
0:14:55 > 0:14:58And she was also a Warhol superstar,
0:14:58 > 0:15:02who appeared in several of his films, including Chelsea Girls.
0:15:04 > 0:15:09- I'll talk to you later. Give your mother my love.- All right.
0:15:09 > 0:15:12- If you ever see her.- Goodbye.- Bye.
0:15:19 > 0:15:22PHONE RINGS
0:15:24 > 0:15:28- Hello.- Oh, hello, is that Brigid? - Yes, it is.
0:15:28 > 0:15:32- This is Stephen from the BBC. How are you?- Fine, good.
0:15:32 > 0:15:35In the spirit of those wonderful days,
0:15:35 > 0:15:37do you mind if I record this conversation now?
0:15:37 > 0:15:41- No, not at all. - Great, OK, we will do that.
0:15:42 > 0:15:43Start.
0:15:43 > 0:15:47'I'll use the same model of cutting-edge recording technology
0:15:47 > 0:15:50'favoured by Brigid and Andy in the mid-'60s...
0:15:50 > 0:15:54'still in use amongst BBC staff today.'
0:15:54 > 0:15:58Um, nine o'clock in the morning, the phone rings.
0:15:58 > 0:16:01"Hi, Bridge.
0:16:01 > 0:16:03"What's new?"
0:16:03 > 0:16:06"Oh, Andy, there is nothing new.
0:16:06 > 0:16:09"It's nine o'clock in the morning!"
0:16:09 > 0:16:11"Well...
0:16:11 > 0:16:14"aren't there any good invitations in the book?"
0:16:15 > 0:16:19"Andy, no, the mail hasn't come.
0:16:19 > 0:16:22"The mail won't be here until 11.
0:16:22 > 0:16:26"Oh, Andy, I met this cutest boy.
0:16:26 > 0:16:30"He was a baseball player in Central Park."
0:16:30 > 0:16:34"Well, Bridge, did you do it last night?"
0:16:34 > 0:16:37And he would say, "Did he have a big dick?"
0:16:37 > 0:16:39SHE LAUGHS
0:16:43 > 0:16:45I did this every day.
0:16:45 > 0:16:47You couldn't have just done it by phoning him up and saying,
0:16:47 > 0:16:49"Andy, get out of bed"?
0:16:49 > 0:16:51HE LAUGHS
0:16:52 > 0:16:55And depending how fast I got here or not,
0:16:55 > 0:16:59I would run to his house or I would walk to his house.
0:16:59 > 0:17:01# Hey, white boy
0:17:01 > 0:17:04# What you doin' uptown? #
0:17:04 > 0:17:07He wanted to know about your sex life. What did you think about that?
0:17:07 > 0:17:11Well, no, he didn't. He...
0:17:11 > 0:17:15Listen. You have this wrong.
0:17:16 > 0:17:20Because he was a great friend of mine.
0:17:20 > 0:17:24And, you know, two people can be terrific friends
0:17:24 > 0:17:28- and they know everything about each other.- That's true.
0:17:28 > 0:17:31You said all people are the same.
0:17:31 > 0:17:34And that you want to be a machine in your paintings. Is that true?
0:17:34 > 0:17:35Um...
0:17:38 > 0:17:41Is it true, Brigid?
0:17:41 > 0:17:45No, he just wishes it was all easier.
0:17:45 > 0:17:47'Can you... Listen,'
0:17:47 > 0:17:51everyone thinks that Andy was so quiet,
0:17:51 > 0:17:55that his reaction would be,
0:17:55 > 0:17:59"Oh, gee," or, "How fabulous," to everything.
0:17:59 > 0:18:02And he would just listen.
0:18:02 > 0:18:06Well, I can contradict that perfectly because he never shut up!
0:18:06 > 0:18:09MUSIC: How Sweet It Is (To Be Loved By You) by Marvin Gaye
0:18:10 > 0:18:15Andy would be very un-monosyllabic with Brigid for an hour or more.
0:18:16 > 0:18:20So you would get to the Warhol place about 12.50.
0:18:20 > 0:18:22What would happen then?
0:18:22 > 0:18:26Well, I would knock on the door and after a few minutes Andy's mom would
0:18:26 > 0:18:30answer the door, and she usually had a couple of cats down by her legs...
0:18:35 > 0:18:38Joey Freeman's closing in on Warhol's townhouse,
0:18:38 > 0:18:41where he lived with his mother for 20 years and has
0:18:41 > 0:18:43since been branded The Warhol.
0:18:45 > 0:18:48The current owner has declined to let us have a peek inside,
0:18:48 > 0:18:50so we were left to our own imagination.
0:18:52 > 0:18:56- So this is the place, right here? - This is the place.
0:18:56 > 0:18:59The door, I think, is the same door that was always here.
0:18:59 > 0:19:03And I imagine his mother to be
0:19:03 > 0:19:05pulling back the curtain.
0:19:05 > 0:19:07This is Andy's mum, Julia,
0:19:07 > 0:19:10making an appearance in one of her son's films
0:19:10 > 0:19:14called Mrs Warhola, as she acts the part of herself.
0:19:14 > 0:19:16I guess there's no harm in looking through the letterbox.
0:19:16 > 0:19:19What do you think, is that an intrusion?
0:19:22 > 0:19:23'Oh, look!'
0:19:24 > 0:19:29Julia did give her son his bowl of cornflakes almost every morning...
0:19:29 > 0:19:34after feeding about two dozen Siamese cats, all named Sam.
0:19:34 > 0:19:36WOMAN SINGS IN SLAVIC
0:19:36 > 0:19:39She got superstar treatment from her son.
0:19:39 > 0:19:43Andy produced a silkscreen portrait of her...
0:19:45 > 0:19:49..and hired a professional recording studio to tape her singing
0:19:49 > 0:19:52traditional Slavic folk songs.
0:19:55 > 0:20:00The Warhola family were staunch adherents of Byzantine Catholicism.
0:20:01 > 0:20:04THEY SING A HYMN
0:20:07 > 0:20:11Julia was the most artistic in the family.
0:20:11 > 0:20:14She sang, she did her own type of art.
0:20:14 > 0:20:16She loved doing ink drawings.
0:20:16 > 0:20:20You know, a lot of this concern for creativity
0:20:20 > 0:20:23and making things was passed on to Andy.
0:20:23 > 0:20:28Julia was kind of that magical input.
0:20:28 > 0:20:33Well, I mean, most people have a sort of public self or a work self
0:20:33 > 0:20:36and then, perhaps, they're slightly different at home.
0:20:36 > 0:20:38Maybe a bit more relaxed at home.
0:20:38 > 0:20:40But you think this was particularly pronounced in...?
0:20:40 > 0:20:42Oh, yes, I think so.
0:20:42 > 0:20:44I think he kept his two worlds apart -
0:20:44 > 0:20:47his home life, his family life...
0:20:47 > 0:20:51And that was the part that we knew him, as Uncle Andy.
0:20:51 > 0:20:53And he lived with his mother, Julia.
0:20:53 > 0:20:57We had this wonderful kind of relationship with him there.
0:20:57 > 0:20:59..and then there was this other aspect
0:20:59 > 0:21:02of him being a famous painter,
0:21:02 > 0:21:05going off to this place called the Factory.
0:21:05 > 0:21:06When he went to church
0:21:06 > 0:21:08or he said his prayers with his mother,
0:21:08 > 0:21:09that was at home.
0:21:09 > 0:21:13That wasn't something that the people at the Factory would know.
0:21:13 > 0:21:17And of course, he had his crucifix above his bed that was always there.
0:21:17 > 0:21:21- And...- You say "of course" but people might be surprised by that.
0:21:21 > 0:21:25Oh, I think the crucifixes were always all over the house.
0:21:27 > 0:21:29After I was there for a little bit,
0:21:29 > 0:21:32he would come down in his jockeys.
0:21:32 > 0:21:34And it's so funny because he came down in his jockeys
0:21:34 > 0:21:37but he had those sunglasses on and he had his wig on,
0:21:37 > 0:21:40although I never knew it was a wig back then.
0:21:40 > 0:21:46It was just a person who had thinning hair covering that up.
0:21:46 > 0:21:50I was 13 and a little bit chunky and I had a little Beatle haircut.
0:21:50 > 0:21:56After working with him for one year, I was skinny and part of the scene.
0:21:56 > 0:21:57You know?
0:21:57 > 0:21:59Was that from observing what was going on
0:21:59 > 0:22:03- or was somebody telling you, "You need to do this"?- No, no, no.
0:22:03 > 0:22:07You knew that being thin was the ideal.
0:22:07 > 0:22:11And you just did it by being so busy.
0:22:11 > 0:22:13We'd walk onto the kerb
0:22:13 > 0:22:16and at that time there was no traffic here at all.
0:22:16 > 0:22:20And Andy would step on the kerb and he'd go like this.
0:22:20 > 0:22:21Why would he do that?
0:22:21 > 0:22:24Cos that's the way that Andy hailed a cab.
0:22:24 > 0:22:29Sort of a little bit twinkling of his fingertips, like that.
0:22:29 > 0:22:31Did it work much or not really?
0:22:31 > 0:22:35- It did.- Oh, hang on. Here we go! - It did! And lo and behold.
0:22:35 > 0:22:40- It was a Checker cab and Andy loved Checker cabs.- OK.
0:22:40 > 0:22:42Look at this one.
0:22:42 > 0:22:4647th Street between 2nd and 3rd.
0:22:57 > 0:23:00A lot of times Andy would look out the window
0:23:00 > 0:23:03and he would sort of space out and get his act together.
0:23:04 > 0:23:07You could see an actual transformation
0:23:07 > 0:23:09- before your very eyes, as it were?- Yes,
0:23:09 > 0:23:11he got in his cab and he would decompress.
0:23:11 > 0:23:14He was quiet and he would look out the windows,
0:23:14 > 0:23:17because when we got to the Factory,
0:23:17 > 0:23:22he emerged and everybody went to him.
0:23:22 > 0:23:25Everybody had something that they wanted him to do.
0:23:25 > 0:23:28I saw that happen time and time again.
0:23:30 > 0:23:34Andy and Joey arrive at the Factory at about 1:45.
0:23:34 > 0:23:37We're on 47th Street between 2nd and 3rd.
0:23:37 > 0:23:40And the Factory would have been over there,
0:23:40 > 0:23:42where that brick wall,
0:23:42 > 0:23:44that half brick wall is.
0:23:44 > 0:23:49And it would have been maybe three windows wide.
0:23:49 > 0:23:50It wasn't a big building.
0:23:50 > 0:23:53And I think there were only maybe eight floors
0:23:53 > 0:23:56in the entire building.
0:23:58 > 0:24:01A key thrown down to the street
0:24:01 > 0:24:03would get you into the studio freight elevator.
0:24:08 > 0:24:11LAUGHTER
0:24:11 > 0:24:16- I thought maybe you'd like to see it.- Oh, I do.
0:24:16 > 0:24:18When Warhol finally arrives at the Factory at around two
0:24:18 > 0:24:22o'clock in the afternoon, the needs and challenges of running
0:24:22 > 0:24:26an expanding multimedia enterprise await him.
0:24:26 > 0:24:30Has anyone important called? Was the film stock picked up at Kodak?
0:24:30 > 0:24:36Has the latest version of some Flower silk-screens arrived for Gerard?
0:24:36 > 0:24:41Did Henry confirm for lunch? Can that press interview be pushed back?
0:24:41 > 0:24:45And which party invite to accept this evening?
0:24:45 > 0:24:49And while all that's going on, on Sundays the Velvet Underground, the
0:24:49 > 0:24:53new rock group Andy was producing, would turn up for a rehearsal.
0:24:56 > 0:25:00This is the buzzing silver Factory kingdom of Andy Warhol
0:25:00 > 0:25:03in the mid-'60s.
0:25:03 > 0:25:05Victor Bockris was a Factory regular
0:25:05 > 0:25:09and the unauthorised biographer of Andy Warhol.
0:25:09 > 0:25:10Was there a court?
0:25:10 > 0:25:13Yes, of course, the Factory was a court. Absolutely.
0:25:13 > 0:25:16He had his jester in Ondine.
0:25:16 > 0:25:20Ondine, who called himself the Pope, is an amphetamine head
0:25:20 > 0:25:25known for his scathing wit and his appearances in several Warhol films.
0:25:25 > 0:25:31He had his prime minister in Malanga. He had his manager in Billy Name.
0:25:31 > 0:25:34Billy Name is a lighting designer who also gave
0:25:34 > 0:25:36the Factory its distinctive silver look.
0:25:36 > 0:25:40He had his female companions. The king was always the girl of the year.
0:25:41 > 0:25:43Yes, it was a court.
0:25:43 > 0:25:47His closest artistic associates compared him to Louis XIV.
0:25:48 > 0:25:52His presence was everything. His presence was so...
0:25:52 > 0:25:53That's like Louis XIV.
0:25:53 > 0:25:58Yeah, his presence was so powerful. People would die for him.
0:25:58 > 0:26:01Literally, people would die for him.
0:26:01 > 0:26:05Look at his self-portraits. This great thing like... He's very regal.
0:26:05 > 0:26:07He's a king.
0:26:11 > 0:26:13In spite of all the new initiatives,
0:26:13 > 0:26:18the silk-screens remain at the core of Factory production.
0:26:18 > 0:26:21Gerard's wrapping up the smallest edition of some recently
0:26:21 > 0:26:25completed prints in the Flower series.
0:26:25 > 0:26:28It was very easy to multiply the Flower paintings
0:26:28 > 0:26:29just like in nature.
0:26:29 > 0:26:35He wanted... Everybody would have the opportunity to own an original
0:26:35 > 0:26:39painting, even though it was the same as another original painting.
0:26:39 > 0:26:42So we must have silk-screened close to 100 paintings.
0:26:43 > 0:26:47But it's the new films of Warhol which are consuming his energy
0:26:47 > 0:26:50and are starting to generate publicity,
0:26:50 > 0:26:54albeit mostly as objects of ridicule.
0:26:54 > 0:26:56They seem kind of inhuman, the movies.
0:26:57 > 0:27:00No, they were supposed to be just very real.
0:27:01 > 0:27:05And like it's called instant movie, instant sound. Everything is...
0:27:05 > 0:27:09You don't cut anything out, everything is left in.
0:27:09 > 0:27:12- But it's very machine-like.- Oh, yes.
0:27:12 > 0:27:15The camera is going on, you're sitting over here.
0:27:15 > 0:27:16Yeah, you don't have to watch the movie.
0:27:16 > 0:27:19I mean, it takes it all by itself.
0:27:24 > 0:27:29At usually two o'clock, I met the film-maker at the Cinematheque
0:27:29 > 0:27:33and maybe I would call Andy or Andy would call me.
0:27:34 > 0:27:38Jonas Mekas was the Cecil B DeMille of underground
0:27:38 > 0:27:40cinema in New York in the '60s.
0:27:40 > 0:27:45He screened, promoted and even shot films of Andy Warhol.
0:27:45 > 0:27:53Of course, nobody took early, first films of Andy's seriously.
0:27:53 > 0:27:56I was the only one who was screening them.
0:27:56 > 0:28:00And Jonas gave Sleep its world premiere.
0:28:00 > 0:28:05But I never saw Sleep from the beginning to end.
0:28:05 > 0:28:06Well, maybe that was a blessing,
0:28:06 > 0:28:09because some people said it was very boring.
0:28:11 > 0:28:15As boring as any painting, any modern painting,
0:28:15 > 0:28:19like Malevich's The Black Square.
0:28:19 > 0:28:25You can say it is boring. You know? But it is a masterpiece.
0:28:25 > 0:28:29It's a landmark in the art of painting.
0:28:29 > 0:28:35- So, you sit.- Hang on a minute, Jonas. - Now, I will tie you up to the chair!
0:28:35 > 0:28:37For audiences,
0:28:37 > 0:28:41Andy's excruciatingly unhurried films were a challenge to the mind.
0:28:41 > 0:28:42And also the buttocks.
0:28:42 > 0:28:46Mekas once tied him to his cinema seat to make sure
0:28:46 > 0:28:49he viewed his own film Sleep in its entirety
0:28:49 > 0:28:52and suffered for his art like the other moviegoers.
0:28:52 > 0:28:56- Like that.- No wonder you didn't have huge audiences at your cinema club
0:28:56 > 0:28:58if this is how you treated the patrons!
0:29:06 > 0:29:11For Andy, lunch is usually between 2:30 and 3:30.
0:29:11 > 0:29:13It may just be a diet pill.
0:29:13 > 0:29:16Or maybe a frozen hot chocolate at Serendipity,
0:29:16 > 0:29:19a short walk away from the Factory.
0:29:21 > 0:29:25So, what time would you expect to see Andy at your tables?
0:29:25 > 0:29:28Well, he'd always come around 2:30, three in the afternoon.
0:29:28 > 0:29:30Who comes through the door these days?
0:29:30 > 0:29:36Any of the top movie stars that are in New York for PR productions.
0:29:36 > 0:29:41You know, we've got the nickname of the ice cream parlour to the stars.
0:29:43 > 0:29:45Andy has been coming to Serendipity
0:29:45 > 0:29:48since his days as a graphic artist back in the late '50s.
0:29:50 > 0:29:54- Oh, my goodness, look at this. - Here's our famous drink.
0:29:57 > 0:30:01- Frozen hot chocolate. - This is nectar of the gods.- Exactly.
0:30:01 > 0:30:05So, you know, at this table, this was Andy's favourite table.
0:30:05 > 0:30:09And I would always reserve it when I saw him at the door.
0:30:09 > 0:30:12And I would say, "Your table is ready," and he'd of course come with
0:30:12 > 0:30:15an entourage of five or six, up to ten people.
0:30:15 > 0:30:18He would put his tape recorder here, right in the centre,
0:30:18 > 0:30:23and order food for everyone and just let people talk.
0:30:23 > 0:30:25In the beginning, we saw him
0:30:25 > 0:30:29after he made his rounds on Madison Avenue and Glamour magazine.
0:30:29 > 0:30:31And then we'd sit down, because lunch would be over
0:30:31 > 0:30:33and it would be a quiet time.
0:30:33 > 0:30:36We were just two friends talking and we discussed all
0:30:36 > 0:30:40the things about what he should do, what he shouldn't do.
0:30:40 > 0:30:41Or what he couldn't do.
0:30:41 > 0:30:43That was an interesting aspect of Andy,
0:30:43 > 0:30:48that he was not only open to ideas from his friends,
0:30:48 > 0:30:53like yourself, and his contacts, but he almost depended on it. Do you...?
0:30:53 > 0:30:55Yes, I agree with that, 100%. I think
0:30:55 > 0:30:59he constantly asked people around him what he should do.
0:30:59 > 0:31:02# I'm in with the in crowd... #
0:31:02 > 0:31:06Lunch is a time to plan an exhibition of new silk-screens,
0:31:06 > 0:31:10or ask friends and colleagues for their ideas.
0:31:10 > 0:31:12And Andy would get good ones at Serendipity.
0:31:14 > 0:31:16From the early '60s,
0:31:16 > 0:31:22Andy regularly had lunch here with his close friend Henry Geldzahler.
0:31:22 > 0:31:24Henry was the curator of contemporary
0:31:24 > 0:31:27art at the Metropolitan Museum of Art.
0:31:27 > 0:31:31There's a story which I hope you can clarify about him being here
0:31:31 > 0:31:36with Henry Geldzahler, and Henry had a copy of the Daily News.
0:31:36 > 0:31:38Some terrible accident had happened,
0:31:38 > 0:31:42nearly 130 people being killed in a plane crash.
0:31:42 > 0:31:46Do you recall that day and how it influenced art history,
0:31:46 > 0:31:49if I might put it grandly?
0:31:49 > 0:31:52I do recall that day, because it was sensational.
0:31:52 > 0:31:56All over the paper, every paper had those headlines.
0:31:56 > 0:32:03And they were both here discussing. I didn't stick my nose into the...
0:32:03 > 0:32:04into the table to find out
0:32:04 > 0:32:07but I know the newspapers were on the table.
0:32:07 > 0:32:11So maybe history was written here. I don't know.
0:32:11 > 0:32:15But their heads were together over the paper.
0:32:15 > 0:32:16Over lunch with Henry,
0:32:16 > 0:32:21an idea was discussed which may have directly led to the powerful,
0:32:21 > 0:32:25dark and controversial Death and Disaster series of silk-screens
0:32:25 > 0:32:31that redefined Warhol's output in the mid-1960s.
0:32:31 > 0:32:33- So, shall we dig in?- Let's try.
0:32:33 > 0:32:36- After you.- In memory of Andy, it was one of his favourite...
0:32:36 > 0:32:39- I think he'd have liked it if we did.- Of course.
0:32:42 > 0:32:43It's interesting.
0:32:43 > 0:32:49There's a kind of marshmallowy top and then this refreshing, cold rush.
0:32:49 > 0:32:53- Like a melting glacier in the mouth...- Exactly.
0:32:53 > 0:32:57- ..of the icy bottom, if I can put it that way.- Yes, I like your explanation.
0:32:59 > 0:33:03After lunch, Warhol hit the nearest payphone to call the carpenter
0:33:03 > 0:33:08he paid 365 bucks to build the wooden boxes on which he'll
0:33:08 > 0:33:13make his now famous silk-screens of Brillo Pad boxes.
0:33:13 > 0:33:16Andy wants another 30 boxes.
0:33:16 > 0:33:20We had to find a carpenter to make these boxes.
0:33:20 > 0:33:22They had to be lightweight. We had to paint every box.
0:33:22 > 0:33:26But we had a silkscreen one side of a whole series of boxes.
0:33:27 > 0:33:30So it was basically five sides to a box.
0:33:30 > 0:33:34It almost seemed like a very Duchampian idea, actually,
0:33:34 > 0:33:37to find a three-dimensional ready-made.
0:33:37 > 0:33:40And Andy was very good at executing ideas.
0:33:42 > 0:33:45The Brillo boxes were selling wholesale for 300 each
0:33:45 > 0:33:47at Warhol's gallery.
0:33:47 > 0:33:52But a cash offer of 50 bucks on the side might also get you one.
0:33:52 > 0:33:55Whatever it took to keep the lights on at the Factory.
0:33:59 > 0:34:02After that, Andy jumps in a cab to head back to the Factory.
0:34:06 > 0:34:12Between three and 4:30pm is prime time for filming the Screen Tests.
0:34:16 > 0:34:19Screen Tests would translate Warhol's passion for doing
0:34:19 > 0:34:27- portraits into real-time encounters with a movie camera.- Say cheese!
0:34:27 > 0:34:32Can we do a cheese movie? All you have to do is say, "Cheese, cheese".
0:34:32 > 0:34:37All right. No, the next segment could be a cheese movie. All right?
0:34:37 > 0:34:41- What's the spirit of this one? - Just... You don't have to do anything.
0:34:42 > 0:34:46- Just what you're doing.- Can I move? - Yeah, you can move.
0:34:47 > 0:34:50But not too much.
0:34:50 > 0:34:51HIS CAMERA WHIRS INTO ACTION
0:34:51 > 0:34:53How come your camera doesn't make any noise?
0:34:56 > 0:35:00These silent, three-minute black and white portraits of the famous
0:35:00 > 0:35:05and the unknown have been likened to modern-day Rembrandts,
0:35:05 > 0:35:09with their uncanny power to reveal personality
0:35:09 > 0:35:13while their subjects were being directed to do nothing.
0:35:15 > 0:35:18For Warhol, the Screen Tests might discover the next
0:35:18 > 0:35:21superstar for his alternative Hollywood.
0:35:24 > 0:35:28At the same time, they were also a rite of passage for those
0:35:28 > 0:35:31invited to be part of the Factory scene.
0:35:37 > 0:35:41The camera on which all the Screen Tests were shot was bought by Andy and
0:35:41 > 0:35:46Gerard at a shop called Peerless, since bought out by Willoughby's.
0:35:48 > 0:35:53Willoughby's still has some vintage camera equipment in stock.
0:35:53 > 0:35:57- ..two or three locations. Right? - How are you doing?- Good afternoon.
0:35:57 > 0:35:58What can we get for you?
0:35:58 > 0:36:02Well, we were curious about this early model Bolex.
0:36:02 > 0:36:05The Bolex purchased in the winter of '63 was
0:36:05 > 0:36:10the beginning of the end of one Warhol era and the start of another.
0:36:10 > 0:36:14How long is it since you've handled one of these, Gerard? Years?
0:36:14 > 0:36:19- I would say... 1968.- Is that right?- Yeah.
0:36:19 > 0:36:23- And then you'd put it on a tripod, would you?- No, no, hand-held.
0:36:23 > 0:36:29- Hand-held always.- You could... We put it on the tripod for the Screen Tests.
0:36:29 > 0:36:32Do you recall, now, how many Screen Tests you did?
0:36:32 > 0:36:38- We did somewhere between 480 and 500.- Gosh.
0:36:38 > 0:36:40It's nice. It's...kind of...
0:36:40 > 0:36:44I haven't held one of these in a long time, actually.
0:36:44 > 0:36:48Yeah, oh, I see you are looking at it through this viewfinder. All right.
0:36:49 > 0:36:51- I see!- I like it.
0:36:55 > 0:36:59An afternoon Screen Test transformed an uptown housewife whom
0:36:59 > 0:37:03Warhol met near Bloomingdale's into one of his first superstars.
0:37:07 > 0:37:12- Oh, my God, I love that blouse! - Which one?- And I love that... This one.
0:37:12 > 0:37:14- It's so pretty.- It's like a hoodie. A see-through hoodie.
0:37:14 > 0:37:16Yeah, but it's beautiful.
0:37:16 > 0:37:19And I love this pink and the flowers. Yum.
0:37:19 > 0:37:22That would be great for me at Palm Beach.
0:37:24 > 0:37:30- We did lots of Screen Tests. Oh, gosh, I guess I did 11.- 11?
0:37:30 > 0:37:35- That's a lot.- And what were you doing while the camera was rolling?
0:37:35 > 0:37:38Oh, he'd tell me things like, "Don't blink".
0:37:38 > 0:37:41You try not to blink for three minutes. It's really hard.
0:37:46 > 0:37:50So you had a great look. That's partly what he liked about you.
0:37:50 > 0:37:54What did you get out of it? Why were you associating with him?
0:37:54 > 0:37:56Well, I don't know.
0:37:56 > 0:37:59What I got out of it was not being a bored housewife.
0:38:03 > 0:38:07What about Andy's habit of making somebody a superstar
0:38:07 > 0:38:11and then they were yesterday's plaything?
0:38:11 > 0:38:13You know, that really isn't how it worked,
0:38:13 > 0:38:15because everybody remained a superstar.
0:38:15 > 0:38:19- It just depended what you did with your life, you know?- I see.
0:38:21 > 0:38:24MUSIC: Baby Love by The Supremes
0:38:26 > 0:38:29Bibbe Hansen had her chance encounter with Warhol
0:38:29 > 0:38:33while she was in a diner with her dad, who happened to know Andy.
0:38:33 > 0:38:36Suddenly I felt these eyes peering at me
0:38:36 > 0:38:42and Andy leaned over the table and said, "And you?
0:38:42 > 0:38:43"What do you do?"
0:38:45 > 0:38:51And my father leapt up, very proudly, and said, "I just sprung her from jail!"
0:38:52 > 0:38:54"Thanks, Dad(!)"
0:38:54 > 0:38:58Warhol was eager to hear more about this young delinquent
0:38:58 > 0:39:02and her stories of truancy, shoplifting, drugs and prison.
0:39:03 > 0:39:07So, far from you being this kind of innocent that the Factory exploited,
0:39:07 > 0:39:10you'd have been amongst the toughest cookies in there, probably,
0:39:10 > 0:39:14- even at 14, wouldn't you? - Yes, I would think so.
0:39:14 > 0:39:16I mean, it was on a par, certainly.
0:39:18 > 0:39:22Sure enough, she received a Screen Test invite from Andy.
0:39:25 > 0:39:31I instantly knew that it was a vetting process. I mean, I got it.
0:39:31 > 0:39:35Bibbe would end up co-starring in a Warhol film about prison,
0:39:35 > 0:39:40with his newest Factory superstar, Edie Sedgwick.
0:39:40 > 0:39:44She told me the best, most black eyeliner that you could get.
0:39:45 > 0:39:48And I stole her one.
0:39:48 > 0:39:51She also taught me how to put on false eyelashes.
0:39:52 > 0:39:54And I would give her drugs.
0:39:54 > 0:39:57This bright new charismatic personality was
0:39:57 > 0:40:03considered by Warhol a possible dream ticket to the real Hollywood.
0:40:11 > 0:40:15It's a mid-afternoon fashion shoot for British photographer
0:40:15 > 0:40:17David McCabe.
0:40:17 > 0:40:20His rooftop assignment is to photograph the newest Factory
0:40:20 > 0:40:23superstar, Edie Sedgwick.
0:40:23 > 0:40:26Warhol has tagged along with Edie.
0:40:27 > 0:40:31On a whim, I just asked Andy, "Jump up on the ladder with Edie,"
0:40:31 > 0:40:36and just took that one shot with the Empire State Building behind him.
0:40:39 > 0:40:44Warhol's presence steals the show and creates an iconic image
0:40:44 > 0:40:49of the impresario and his new star that helped define the Warhol era.
0:40:53 > 0:40:57It's one of many iconic images by McCabe that defined the times.
0:40:59 > 0:41:03Andy had already met McCabe, knew his work and decided to hire him
0:41:03 > 0:41:10in 1964 to follow and photograph a year in his life and art.
0:41:10 > 0:41:13It was such a pivotal, pivotal time.
0:41:13 > 0:41:18McCabe documented the changing scene at the Factory and Warhol's
0:41:18 > 0:41:20star-studded encounters.
0:41:28 > 0:41:32It was crucial to the image-conscious Andy that McCabe
0:41:32 > 0:41:35was on hand to capture his encounters with the famous,
0:41:35 > 0:41:38wherever and whenever they occurred.
0:41:43 > 0:41:47When he received my contact sheets, he would pore over them
0:41:47 > 0:41:49with a magnifying glass.
0:41:49 > 0:41:53And after the year was over, what Andy was doing, actually,
0:41:53 > 0:42:00was trying to figure out what kind of an image he should be projecting.
0:42:04 > 0:42:08From the beginning, he was very kind of open, and I actually took
0:42:08 > 0:42:11photographs of him laughing and being a regular guy.
0:42:15 > 0:42:21He had turned into the Andy that we now know, the quiet,
0:42:21 > 0:42:22mysterious Andy.
0:42:27 > 0:42:30I mean, now everybody has, you know, they've got the paparazzi,
0:42:30 > 0:42:32they've got their own photographers.
0:42:32 > 0:42:34They curate their own brands,
0:42:34 > 0:42:38- to use a couple of terrible modern coinages, don't they?- Exactly.
0:42:38 > 0:42:41- But he was perhaps the first. - I think so.
0:42:46 > 0:42:48He really transformed himself.
0:42:48 > 0:42:52He transformed himself physically, he transformed himself emotionally,
0:42:52 > 0:42:55by not allowing emotions to interfere with his work.
0:42:55 > 0:42:58He transformed himself, you know, deeply
0:42:58 > 0:43:02and to become really one of the great beauties in the world.
0:43:02 > 0:43:04Andy Warhol...
0:43:04 > 0:43:06There are photographs of Andy Warhol that are just, like,
0:43:06 > 0:43:07incredibly beautiful.
0:43:10 > 0:43:14But close friends of Warhol knew that the image he worked
0:43:14 > 0:43:18around the clock to create and maintain was just that -
0:43:18 > 0:43:19an image.
0:43:19 > 0:43:21He thought himself ugly.
0:43:21 > 0:43:25But when you saw Andy naked - he looked like a beautiful boy.
0:43:25 > 0:43:30I'd say, "Andy, don't you look at yourself in the mirror? You're beautiful."
0:43:31 > 0:43:34And then on this beautiful body sat the Andy Warhol head
0:43:34 > 0:43:36with the wig!
0:43:39 > 0:43:42And he, of course, he had a big dick...
0:43:42 > 0:43:43A... Quite a big dick.
0:43:45 > 0:43:49At around 4.30 in the afternoon, Andy playfully heads to a
0:43:49 > 0:43:53Times Square photo booth a few blocks from the Factory,
0:43:53 > 0:43:56to take some self-portraits his way -
0:43:56 > 0:43:59fast, cheap and easy.
0:43:59 > 0:44:02In spite of anxieties about his looks,
0:44:02 > 0:44:05Andy never met a photo booth he didn't like.
0:44:06 > 0:44:09So, in the spirit of Andy, I'm getting made up
0:44:09 > 0:44:11for my close-up.
0:44:11 > 0:44:14John Richardson, the biographer of Picasso,
0:44:14 > 0:44:16who knew Warhol, said this about him,
0:44:16 > 0:44:21"He hid his blotchy looks behind a smokescreen of windswept wigs,
0:44:21 > 0:44:25"unevenly dyed eyebrows, heavy layers of calamine
0:44:25 > 0:44:26"and Harpo Marx mutism."
0:44:28 > 0:44:31Of course, I don't really need this, I'm a natural English rose,
0:44:31 > 0:44:33but thanks anyway.
0:44:33 > 0:44:37By the mid '60s Andy often turned up at photo booths with a
0:44:37 > 0:44:42roll of quarters, to shoot himself or for a growing franchise
0:44:42 > 0:44:43of commissioned portraits.
0:44:45 > 0:44:48Here she is - what a beauty.
0:44:48 > 0:44:51Guaranteed to get your photos in two and a half minutes, folks.
0:44:51 > 0:44:54None of that hanging about for three minutes.
0:45:01 > 0:45:03I like the instructions here -
0:45:03 > 0:45:06Number three - "Attempt to look good."
0:45:06 > 0:45:09It's as if they knew I was coming, "Attempt to look good."
0:45:09 > 0:45:12And number four - "Have a drink. Your photos will be delivered
0:45:12 > 0:45:14"in four to five minutes."
0:45:14 > 0:45:16That's service.
0:45:19 > 0:45:21OPERATIC SINGING
0:45:28 > 0:45:31The photo booth was used by Warhol for his first
0:45:31 > 0:45:36commissioned portrait of the collector Ethel Scull in 1963.
0:45:36 > 0:45:38I thought, "Where are we going?"
0:45:38 > 0:45:40"Just down to 42nd Street and Broadway."
0:45:40 > 0:45:42I said, "What are we going to do there?"
0:45:42 > 0:45:45He says, "I'm going to take pictures of you."
0:45:45 > 0:45:48I said, "For what?" He said, "For the portrait."
0:45:48 > 0:45:52I said, "In those things?" I said, "My God, I'll look terrible."
0:45:52 > 0:45:55He said, "Don't worry." And he took out -
0:45:55 > 0:45:58he had coins, about 100 worth of silver coins.
0:45:58 > 0:46:01And he said, "We'll take the high key and the low key,
0:46:01 > 0:46:05"and I'll push you inside and you watch the little red light."
0:46:05 > 0:46:09By the mid-'60s, photo booth portraits were an important
0:46:09 > 0:46:11source of income for Warhol.
0:46:11 > 0:46:14Ethel paid 700 for hers -
0:46:14 > 0:46:18adjusted for inflation - 6,000.
0:46:18 > 0:46:22The photo booth helped pay the costs of running the Factory,
0:46:22 > 0:46:24one quarter at a time.
0:46:26 > 0:46:30Before Andy, the photo booth was a largely functional place,
0:46:30 > 0:46:34to get your ID or your passport sorted out.
0:46:34 > 0:46:37After all, not every family had its own camera in those days.
0:46:37 > 0:46:41But it was small wonder that Warhol saw the potential for art
0:46:41 > 0:46:43in this extraordinary space.
0:46:43 > 0:46:47On the one hand, it threw forward to the selfie
0:46:47 > 0:46:50that we're obsessed with and deluged by today.
0:46:50 > 0:46:54On the other hand, though, the photo booth, the confines,
0:46:54 > 0:46:58the screen, the darkness, recalled nothing so much as
0:46:58 > 0:47:00the confessional of his Catholic upbringing.
0:47:04 > 0:47:07In anticipation of the evening's activities,
0:47:07 > 0:47:10between six and seven o'clock Warhol would make a quick
0:47:10 > 0:47:14round trip to his townhouse to "get glued."
0:47:14 > 0:47:19Getting glued was his expression for wig and make-up management.
0:47:19 > 0:47:22He'd also put on a fresh splash of his favourite cologne -
0:47:22 > 0:47:24Eau de Savage.
0:47:25 > 0:47:27BRIGID: I didn't want to be with Andy at night,
0:47:27 > 0:47:30I'd been with him all day.
0:47:30 > 0:47:33I'd look at the clock, and I'd say,
0:47:33 > 0:47:36"I'm getting out of here."
0:47:36 > 0:47:40He'd look closely down at his watch -
0:47:40 > 0:47:44with his eyes one inch away from the face of the watch.
0:47:44 > 0:47:50And he'd say, "Brig, why are you leaving?
0:47:50 > 0:47:53"The fun is just beginning."
0:47:58 > 0:48:02The favourite time of the day was at the beginning of the evening,
0:48:02 > 0:48:05like, at seven o'clock, because that was the beginning of the night,
0:48:05 > 0:48:07whatever party it was.
0:48:07 > 0:48:10From seven o'clock at night to four in the morning
0:48:10 > 0:48:14is peak partying time for Warhol and his entourage -
0:48:14 > 0:48:16almost nightly.
0:48:16 > 0:48:20The evening circuit might begin at an uptown gallery opening...
0:48:22 > 0:48:27..then move on to a fashion banquet at the Waldorf Astoria.
0:48:27 > 0:48:30Sometimes Andy would get invited to a very, you know,
0:48:30 > 0:48:32exclusive dinner somewhere!
0:48:32 > 0:48:36Warhol was the best possible guest for any self-respecting
0:48:36 > 0:48:39New York host or hostess.
0:48:39 > 0:48:42It might be some museum patrons enjoying a light snack at the
0:48:42 > 0:48:44St Regis Hotel.
0:48:47 > 0:48:50Warhol once said he'd go to the opening of anything -
0:48:50 > 0:48:51even a toilet seat.
0:48:53 > 0:48:58Andy had to show up, Andy had to tap-dance for his supper.
0:48:58 > 0:49:02And he had to hobnob with the rich and famous.
0:49:02 > 0:49:05Andy wanted to have some kind of power.
0:49:05 > 0:49:08He wanted to possess a certain kind of power...
0:49:09 > 0:49:13..possessing a power that could manipulate the media,
0:49:13 > 0:49:18or possessing a power where he... he could make money.
0:49:18 > 0:49:22But it almost always ends up with Andy holding court,
0:49:22 > 0:49:25and his entourage falling apart at the seams
0:49:25 > 0:49:30at Max's Kansas City in the wee small hours of the morning.
0:49:30 > 0:49:33Andy enjoyed himself, and he did stay out late sometimes.
0:49:33 > 0:49:36But it wasn't something that he wanted to do all the time -
0:49:36 > 0:49:37it could be a bit tiring.
0:49:44 > 0:49:48As a complete change of pace from all-night partying,
0:49:48 > 0:49:51Warhol would occasionally use the slot from seven at night
0:49:51 > 0:49:53to four in the morning to make a movie.
0:49:57 > 0:50:02In 1964, Andy bought himself a new Auricon film camera.
0:50:04 > 0:50:08It held much larger reels of film than the old Bolex,
0:50:08 > 0:50:10and it could record sound.
0:50:12 > 0:50:15But Warhol's first film with his new sound camera
0:50:15 > 0:50:18wasn't going to have a soundtrack at all.
0:50:18 > 0:50:22The irony is we shot a sound movie without sound.
0:50:22 > 0:50:25We made a silent movie with a sound movie camera.
0:50:26 > 0:50:30Tonight, at around 6:30, Andy and five co-conspirators,
0:50:30 > 0:50:34including Henry Geldzahler, Gerard Malanga, Jonas Mekas,
0:50:34 > 0:50:38and Jonas's protege John Palmer, jump into taxis,
0:50:38 > 0:50:43with camera, tripod and about 50 kilos of raw film stock,
0:50:43 > 0:50:45and head to a friend's office
0:50:45 > 0:50:49with an unobstructed view of New York City's most iconic building.
0:50:50 > 0:50:53John Palmer suggested the idea for this evening's new film -
0:50:53 > 0:50:55and Andy was running with it.
0:50:57 > 0:51:01Tonight, they'll gleefully subvert the fundamental rules
0:51:01 > 0:51:06and expectations of movie-making, and make underground film-making history.
0:51:08 > 0:51:11Tonight, they'll shoot the film Empire.
0:51:14 > 0:51:17It's the Memorial Day holiday weekend, when everything
0:51:17 > 0:51:19in Manhattan is shut tight...
0:51:20 > 0:51:24..including the office building from which Empire was originally shot.
0:51:26 > 0:51:30This is the window from which the original was filmed.
0:51:30 > 0:51:34The unobstructed view, though, is history.
0:51:34 > 0:51:37Gerard and I are determined to recapture one of the most
0:51:37 > 0:51:40eventful moments in the film.
0:51:40 > 0:51:43All our hopes are now pinned to this location.
0:51:43 > 0:51:47I'm told it has a rooftop garden, with an excellent view
0:51:47 > 0:51:48of the Empire State Building.
0:51:56 > 0:52:00Well, it's an excellent location. Only two things are missing -
0:52:00 > 0:52:03the garden and that unobstructed view of the building we're
0:52:03 > 0:52:04here to film.
0:52:08 > 0:52:12Poor Gerard is nearing exhaustion, the jaws of defeat are
0:52:12 > 0:52:14beginning to tighten around us.
0:52:21 > 0:52:24In the depths of despair, with time running out,
0:52:24 > 0:52:28we receive a promising tip-off about a nearby building.
0:52:50 > 0:52:51Now, that's a view.
0:52:53 > 0:53:00I set up the camera and I framed it and called Andy and said,
0:53:00 > 0:53:03"Take a look, is this what you want?"
0:53:03 > 0:53:05And Andy said, "Roll it."
0:53:09 > 0:53:12And with that command, one of the most notorious and
0:53:12 > 0:53:15controversial films of the underground era
0:53:15 > 0:53:17was off and rolling.
0:53:17 > 0:53:19It went and it went and it went and it went...
0:53:21 > 0:53:24With a running time of eight hours and five minutes,
0:53:24 > 0:53:27Empire provokes ridicule amongst many who haven't viewed
0:53:27 > 0:53:28a second of it,
0:53:28 > 0:53:31and pot smoking amongst those who try and view it all.
0:53:34 > 0:53:37Thing is, we're not doing drugs cos it was Henry Romney's office
0:53:37 > 0:53:41at the Rockefeller Foundation, so we were clean, we were squeaky clean.
0:53:45 > 0:53:50After one hour and maybe a half, suddenly the lights go on.
0:53:54 > 0:53:57What an event! What a fantastic event like...
0:54:00 > 0:54:04..when lights went on on the Empire State Building.
0:54:07 > 0:54:11'As luck would have it, tonight's the night
0:54:11 > 0:54:15'when the lights of the Empire State Building are red, white and blue.
0:54:16 > 0:54:18'What could be more pop than that?
0:54:22 > 0:54:26'To help kill time, Gerard took verbatim notes of some
0:54:26 > 0:54:29'of the historic late-night banter.'
0:54:34 > 0:54:38Jonas Mekas - "Did you know that the Empire State Building sways?"
0:54:38 > 0:54:42Andy - "Henry, what is the meaning of action?"
0:54:42 > 0:54:45Henry - "Action is the absence of inaction."
0:54:47 > 0:54:51John - "The lack of action in the last three 1,200-foot rolls
0:54:51 > 0:54:52"is alarming."
0:54:54 > 0:54:58John - "This is the strangest shooting session I've ever been in."
0:54:58 > 0:55:01Andy - "The Empire State Building is a star."
0:55:04 > 0:55:08And at some point, Andy said, "Maybe we've had enough."
0:55:08 > 0:55:11And that's where it ended, like, eight hours later.
0:55:16 > 0:55:19But you know, sometimes Andy would prefer to avoid parties
0:55:19 > 0:55:23and late-night film-making, just to stay at home and watch
0:55:23 > 0:55:26his favourite TV comedy - I Dream Of Jeannie.
0:55:29 > 0:55:32Andy says, "OK."
0:55:32 > 0:55:35I'd say, "Andy, what are you watching?"
0:55:35 > 0:55:39He said, "Oh, Brig, I love I Dream Of Jeannie.
0:55:39 > 0:55:41"I just love it."
0:55:41 > 0:55:43Uh, Jeannie?
0:55:43 > 0:55:46Jeannie, bedtime. Bong time.
0:55:46 > 0:55:49- You are going to bed so early, master?- Oh, yes.
0:55:49 > 0:55:51Yeah, I got a rough day tomorrow.
0:55:51 > 0:55:55Andy says, "Why can't we get to Hollywood?"
0:55:55 > 0:55:58We used to sit in his tent and drink wine with him.
0:55:58 > 0:56:02And I'd say, "Andy, we are never going to get to Hollywood.
0:56:03 > 0:56:08"Because you don't believe in a beginning...
0:56:08 > 0:56:11"a middle...or an end."
0:56:11 > 0:56:13CANNED LAUGHTER
0:56:17 > 0:56:20But Andy Warhol didn't really need to go to Hollywood,
0:56:20 > 0:56:24his fame had already eclipsed most Hollywood A-listers.
0:56:24 > 0:56:29He once said, "A whole day of life is like a whole day of television."
0:56:29 > 0:56:32And Warhol lived his own life as if it was his
0:56:32 > 0:56:37very own hit series, in which Andy Warhol was producer,
0:56:37 > 0:56:40director, publicist and, of course, star.
0:56:40 > 0:56:43MUSIC: I'll Be Your Mirror by The Velvet Underground
0:56:43 > 0:56:46# I'll be your mirror Reflect what you are... #
0:56:46 > 0:56:49On our last day of filming in New York City,
0:56:49 > 0:56:52something extraordinary happened at three minutes to midnight
0:56:52 > 0:56:55at the eternal flame of pop consumerism,
0:56:55 > 0:56:57known as Times Square.
0:57:00 > 0:57:03It was as if Andy was magically out there, and had
0:57:03 > 0:57:07decided to help give an ending to our made-for-TV movie about him.
0:57:09 > 0:57:13All at once, Andy Warhol's Screen Tests ignited upon
0:57:13 > 0:57:15Times Square billboards.
0:57:17 > 0:57:23Edie Sedgwick, Nico - the singer of The Velvet Underground...
0:57:23 > 0:57:26He had a vision of the future in some weird way.
0:57:26 > 0:57:28I think that's what creativity is.
0:57:30 > 0:57:33Andy's whole life is based on an intuition of what's going to
0:57:33 > 0:57:34happen...next.
0:57:34 > 0:57:37And being in front of it and making it happen.
0:57:40 > 0:57:45I think Andy Warhol is the... his best creation.
0:57:49 > 0:57:54In his lifetime, some thought Warhol came from another planet.
0:57:54 > 0:57:58In fact, he hailed from somewhere equally exotic - the future.
0:58:02 > 0:58:04And as we endlessly post on social media,
0:58:04 > 0:58:06consume celebrity culture,
0:58:06 > 0:58:11or even take a selfie - we're living on Andy time.
0:58:12 > 0:58:15# I'll be your mirror... #
0:58:15 > 0:58:18Half a century on from the amphetamine-fuelled,
0:58:18 > 0:58:22sleep-deprived, superstar-obsessed creative frenzy of
0:58:22 > 0:58:28the Factory days, and Andy Warhol day hasn't really ended.
0:58:31 > 0:58:33# I'll be your mirror
0:58:33 > 0:58:37# I'll be your mirror
0:58:37 > 0:58:41# I'll be your mirror
0:58:41 > 0:58:46# I'll be your mirror
0:58:46 > 0:58:49# I'll be your mirror... #