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| Cast overview, first billed only: | |||
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Brigid Berlin | ... |
Herself - The Duchess
(as Brigid Polk)
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Randy Borscheidt | ... |
Himself
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Christian Päffgen | ... |
Himself
(as Ari)
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Angelina 'Pepper' Davis | ... |
Herself
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Dorothy Dean | ... |
Herself
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Eric Emerson | ... |
Himself
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Patrick Flemming | ... |
Himself
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Ed Hood | ... |
Himself
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Arthur Loeb | ... |
Himself
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Donald Lyons | ... |
Himself
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Gerard Malanga | ... |
Son
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Marie Menken | ... |
Mother
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Mario Montez | ... |
Transvestite
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Nico | ... |
Herself
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Ondine | ... |
Himself - Pope
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Lacking a formal narrative, Warhol's art house classic follows various residents of the Chelsea Hotel in 1966 New York City, presented in a split screen with a single audio track in conjunction with one side of screen.
You know when you let your mind drift--especially when under the influence of drugs or alcohol--and you think up some idea that sounds like it would be great? A typical non-genius would consider an idea like that later and think, "well, this sounded like a good idea then but it's just stupid now?" Thankfully, Warhol said to himself, "no, I'm a genius and therefore that was a good idea."
And what was this brilliant idea?
Film a bunch of drug users and couples in various rooms of a hotel then project two films at a time side-by-side, shifting the audio to switch focus.
Doesn't that sound amazingly fresh and cool?
Don't answer yet! You also get:
- having the camera's point-of-interest fail to follow the viewer's
desires- sluggish response to bad focus after changing camera
positionsNow how much would you pay?
With your average film you'd get three or four reels, but with this, you get _12 reels!_ Plus, you get sketchy instructions on when to do transitions and change projectors, putting _you in the driver seat!_
Operators are standing by.