Hello, my name's Justin the Gluor. I'm here today with Will Sloan.

And you're listening to The Important Cinema Club. And today, we're going to get a little bit arty.

We're going to be talking about Andy Warhol and Paul Morrissey. Do you know who Andy Warhol is, listener?

Of course you do. He did the soup

can. That's right. And the Marilyn Monroe. You know, in the future, everyone will be famous for 15

minutes. I think that it's not a very controversial statement to say that Andy Warhol is probably

the most recognizable fine art artists of the 20th century. I think so, yeah. Yeah. Because I could ask my dad, hey, you know where Andy Warhol is? He goes, yep. And he could point out stuff that he's done. And I don't think any other artist of the 20th century, even Duchamp has had a bigger impact on just the way we look at the world. Exactly. Like the fact that you can make a painting about a soup can, the fact that his superstars can be stars. These are just such influential

ideas. We're not going to talk about their fine art. We're going to talk about their movies.

Specifically, the films that were directed by Paul Morrissey, whose films were often confused as

being directed by Andy Warhol because it was Andy Warhol's flesh, Andy Warhol's heat, Andy Warhol's flesh for Frankenstein.

Well, Warhol was more of a producer and an overseer.

Although they did collaborate on some movies early in Morrissey's time at the factory.

Morrissey entered the picture of Andy Warhol's factory in 1965, back when the factory

scene was kind of at it, Seenoth. Warhol's factory in 1965, back when the factory scene was kind of at

Ed Zenith. Warhol, by that point, had done his much publicized retirement from painting,

and he was moving on towards filmmaking. Warhol had discovered filmmaking by kind of hanging

around with Jonas Mekas and the underground seeing... Those lovable bunch of guys in New York.

Yeah, I was reading something this week that pointed out that the art establishment,

like the fine art establishment in the 50s and the early 60s, with the abstract

expressionist, was very homophobic.

Oh, yeah.

So you can imagine why Warhol would feel more at home with the underground filmmakers.

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