Blank Generation (1980) - full transcript

[calm music]

[speaking in foreign language]

- Dear Billy, I am sending
you this tape from Paris.

How are you?

How are things going?

I wonder what would we change

if we have the chance
to start all over again.

Sometimes I'm playing our tapes

and then I feel that
everything's just
happening right now.

[rock music]

♪ I was sayin' let me out of
here before I was even born ♪



♪ It's such a gamble
when you get a face ♪

♪ It's fascinatin' to observe
what the mirror does ♪

♪ But when I dine it's for
the wall that I set a place ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Triangles were fallin' at the
window as the doctor cursed ♪

♪ He was a cartoon long
forsaken by the public eye ♪

♪ The nurse adjusted her
garters as I breathed my first ♪

♪ The doctor grabbed my throat

♪ And yelled, "God's
consolation prize!" ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪



♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Take it

- [Kellerman] What do
you have for me today?

- [Jack] What I have for you

is a surefire
investment, Kellerman.

Got it all figured out.

You can't lose on this one.

- [Kellerman] What is it?

Cars, horses, cocaine?

- [Jack] Come on, you know
what I'm talking about.

- [Kellerman] I'm 45 years.

I'm tired.

Let me have a good time now.

- [Jack] Kellerman, this
guy's gonna make it.

- [Kellerman] What
do you want from me?

- [Jack] You and I
will manage this guy.

- [Kellerman] I'm not interested

in this kind of music anymore.

- It's not disco crap.

This is something else.

Kellerman, instead of taking
the overcoat to the porno,

why don't you spare 10
minutes and come down

and listen to this guy?

[rock music]

- Here comes.

♪ You're in too deep
you can't survive ♪

♪ Or can't be you past 25

♪ A day's a week
the monster dozes ♪

♪ Deep in passionate, in
passionate, in passionate ♪

♪ In passionate,
in passionate, in ♪

♪ New pleasure,
baby, new pleasure ♪

♪ Whisper in my
ear, we go away ♪

♪ New pleasure, new pleasure

- You wanna try another take?

- Let me have a smoke.

- Okay.

- May I ask you
some more question?

- Can it wait?

- Yes, but I want to
catch this atmosphere.

- What do you think?

- Who's the girl?

- She?

She's making an
interview for French TV.

But I told you,
he's ready to break.

- Can she sing?

- I understand you were
a writer before a singer.

- I was about as much of
a writer as I am a singer.

Who's kidding who?

We gotta go back to work.

- Ready?

Stand by.

Here we go.

[rock music]

♪ Your mind's a wreck
but that's fine ♪

♪ It corresponds to mine

♪ We're in a room
the door closes ♪

♪ Automatic automatic automatic
automatic automatic auto ♪

♪ New pleasure,
baby, new pleasure ♪

♪ Well, whisper in
my ear, we go away ♪

♪ New pleasure, new pleasure

♪ Too weak for life
you have become ♪

♪ You can't get dressed
you're too numb ♪

♪ But we assume sublime poses

♪ Deep in true to life, in
true to life, in true to life ♪

♪ In true to life,
in true to life, in ♪

♪ New pleasure,
baby, new pleasure ♪

♪ Well, whisper in
my ear, we go away ♪

♪ New pleasure, new pleasure

♪ You're in too deep
you can't survive ♪

♪ Or can't be you past 25

♪ A day's a week
the monster dozes ♪

♪ Deep in passionate, in
passionate, in passionate ♪

♪ In passionate,
in passionate, in ♪

♪ New pleasure,
baby, new pleasure ♪

♪ Well, whisper in
my ear, we go away ♪

♪ New pleasure, new pleasure

- Do you want me to talk to him?

- I don't want to
get involved in this.

- I knew you'd see
it my way, Kellerman.

- [Nada] Billy and Nada.

- After two years of struggling,
I finally got a contract.

- [Nada] Are you happy now?

- Gotta make a living.

- I thought you
wanted [mumbles].

- That's right.

- So what happens if
you become successful?

- I'll try something else.

- You will get covered
like anyone else.

Okay, and now to satisfy.

[speaking in foreign language]

[moaning]

[shouts]

[shouts]

[laughs]

[gentle music]

Wake up, Billy.

Do I appear in your dreams?

- Yeah, always.

- Don't go back to
sleep, tell me more.

- Nada, it's five
o'clock in the morning.

I was dreaming we were
getting in a fight.

- Who was winning?

- It was really a lot of fun.

[kisses]

You and me, we could
conquer the world.

- Yeah.

Let's have some fun.

- Yeah, let's conquer the world.

Where do you want to go?

- Wherever you like.

- How about the beach?

- Yeah!

- East Hampton?

- What's wrong?

- Nothing.

I was just thinking.

- Why did you stop?

- Maybe we should go back.

- Why?

- I gotta make some phone calls.

- If you want to go
back, we can go back.

- Yeah, let's go back.

New York City is
a drag on Fridays.

Maybe we should go to the beach.

- I'll do whatever you like.

- There won't be anybody
at the beach today.

- [Nada] That's wonderful!

- It might be a drag though.

- [Nada] Why?

- It's depressing.

It's so damn cold.

Sure you want to go there?

- I told you I don't care!

- Don't get excited.

- I'm not getting excited!

- Just because you want
to go to the beach.

- I didn't want to go to
the beach, it was your idea.

- I wanted to go
back to New York.

- Let me out of here!

[tires squealing]

- Are you crazy or something?

- Get out of of here, get out!

Get out, get out!

- This is my car!

- From now on, it's mine.

[fast-paced music]

[calm music]

- Talk to me.

[slow music]

- Okay, start there.

[strumming guitar]

[percussion music]

[strumming guitar]

[rock music]

♪ Oh, oh, oh, oh, oh, oh, oh,
oh, oh, oh, oh, oh, oh, oh, oh ♪

♪ Look out liars and
you highlife scum ♪

♪ Who gotta keep your
victims poor and dumb ♪

♪ And dumb

♪ And dumb

♪ Your motives and your
methods are not disguised ♪

♪ By your silk, soap, sex,
or your smiling lies ♪

♪ Your lies

♪ Your lies

♪ Look out here

♪ You pompous jerk

♪ Look out here

♪ I'll go berserk

♪ Well you got power,
now there's competition ♪

♪ And your blind side's turned
to the boys with a mission ♪

- Billy needs money.

- Well, he's become
a businessman.

Is that bad?

- No.

Billy's in love.

♪ Look out here

♪ You pompous jerk

♪ Look out here

♪ I'll go berserk

♪ Well you got power,
now there's competition ♪

♪ And your blind side's turned
to the boys with a mission ♪

♪ Oh, oh, oh, oh, oh, oh, oh

♪ They gave you power cause
they knew your needs ♪

♪ Soprano boys get talent
when you shoot your seeds ♪

♪ Your seeds

♪ Your seeds

♪ Well you laugh to hear
what your best friends say ♪

♪ Old man they laugh
when you walk away ♪

♪ Away

♪ Away

♪ Look out chief

♪ Ridiculous creep

♪ Look out thief

♪ You'll lose your teeth

♪ Oh, oh, oh, oh, oh, oh, oh

♪ You were 65 when
you wiggled out ♪

♪ Your mind all twisted
and your mom all shout ♪

♪ All shout

♪ All shout

♪ I'm a man with his
share of excess nice ♪

♪ But it can't be spared
for drooling lice ♪

♪ For lice

♪ For lice

♪ Look out here
you pompous jerk ♪

♪ I can't look at
you ancient slut ♪

♪ Well you got power,
now there's competition ♪

♪ And your blind side's turned
to the boys with a mission ♪

♪ Oh, oh, oh, oh, oh, oh,
oh, oh, oh, oh, oh, oh, oh ♪

♪ Oh, oh, oh, oh,
oh, oh, oh, oh ♪

[cheering]

- Five and four.

One, two, three, four, five.

Four.

Five.

I don't like...

- Wanna play this?

- Who do you think I am?

Push B13.

- Where have you been
the last few days?

[rock music]

I mean you can't just
disappear like that.

♪ Your mind's a wreck
but that's fine ♪

- You pushed me
out of my own car.

Can we have something special?

- Cognac?

- Sure, put it on my tab.

- It's on me.

♪ New pleasure, new pleasure

♪ Too weak for life
you have become ♪

♪ You can't get dressed
you're too numb ♪

- Don't you want to
celebrate with us?

- Or did you want to put
it on your tab again?

Didn't the company pay you?

- No, I don't care about money.

I'm just glad we
could make the record.

Other groups have to
struggle for years.

- Maybe you should
do it yourself.

At least you know
what's going on.

You don't even read
your contracts now.

- We're together for five
minutes and you start fighting.

- Why don't you find yourself
a girl who always say yes

and how wonderful,
how great you are.

Somebody who just doesn't care.

Gives a shit.

Sure that's what you need.

A little nice girl.

I have to go to the cutting
room to work on the interview.

- Don't get angry.

- What are you going to do
when you lose your good looks?

- Oh, good.

How about Friday?

- No, Friday he can't do it.

He's not available Friday.

Can't, no, no, no Friday.

Here, let me speak to him.

- Let me [mumbles].

- Yeah, no, he
can't do it Friday.

Can't do it Friday at all.

Weekends, yeah.

Can we do the weekend?

- We can't do it on the weekends

because we're taking
Billy to Osmond.

- Okay.

[rock music]

♪ I was sayin' let me out of
here before I was even born ♪

♪ It's such a gamble
when you get a face ♪

♪ It's fascinatin' to observe
what the mirror does ♪

♪ But when I dine it's for
the wall that I set a place ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Triangles were fallin' at the
window as the doctor cursed ♪

♪ He was a cartoon long
forsaken by the public eye ♪

♪ The nurse adjusted her
garters as I breathed my first ♪

♪ The doctor grabbed my throat

♪ And yelled, "God's
consolation prize!" ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ To hold the T.V. to my lips,
the air so packed with cash ♪

♪ Then carry it up
flights of stairs ♪

♪ And drop it in
the vacant lot ♪

♪ To lose my train of thought

♪ And fall into
your arms' tracks ♪

♪ And watch beneath the
eyelids every passing dot ♪

♪ I belong to the
blank genera-- ♪

[shouting]

- What, are you
crazy or something?

You just can't walk out in
the middle of a performance.

Gonna sue the asses off us.

- I don't care.

- Look, we'll work this one out.

Let me tell Kellerman that
you've been working too hard

and under too much pressure.

But you gotta come back
here tomorrow night

and play for this
audience again.

This time for free.

- I'm not playing tomorrow
night or any other night.

- Oh, come on, Billy,
let's be serious.

- Okay, I'll be serious.

You're fired.

- Oh, shit, stop
playing around, will ya?

- Listen, Jack, you
know I'm no primadonna.

[coughs]

I just can't
continue doing this.

I'm fed up.

- Billy.

Everybody likes a winner.

[slow music]

- [Billy] What are you doing?

- I want you out of here.

- Are you crazy?

- Yes, wasting all
my time with you.

- How times do we--

- Just leave me alone.

- How many times do we
have to go through this?

[doorbell buzzing]

- Why didn't you open the door?

- The bell doesn't work.

- [Man] Ready to roll.

- Okay, let's do it.

- [Man] Today, Nada Lumiere
is on the lower east side

with former star football
player Bobby "the Bear" Butler.

What's the matter?

- I want to make a phone call.

- [Man] You have to
make another phone call?

We can't keep all these
people waiting here.

Now please hurry up.

- Okay, I'll be right back.

I've been thinking about you.

Will you forgive me?

Maybe I was unhappy.

Why don't you come here?

I love you.

- You've got the choice.

A life with your French
girl, platinum records.

I've also gotta remind you,

you signed a number
of contracts.

- Because of your injury, Bobby,

you had three serious
knee operations.

And it's been more than a
year since your last game.

- [Bobby] That's right.

- And where were you living
when you were playing pro ball?

- Well, I'm still a
professional, you know.

But when I was in the money,

my wife and me had a
nice apartment uptown.

- Has Coach Cassin
been here to see you?

- Like I told you before, Mr.
Cassin is a very busy man.

- [Nada] Okay.

What about your wife?

- Well, Roberta,
she moved to LA.

I don't see her
very much anymore.

But let's get back to football.

- Yes, Bobby.

But what have these people, I
mean your friends, your wife,

Coach Cassin, what have
they really done for you?

- [Bobby] They gave me a lot
of hope and encouragement.

- You're lying.

- Come on, Pop.

- Who's paying?

This cost me a lot of money.

Now, what you gonna do?

Quit football or are you
gonna keep on running around?

I don't like it.

I can't afford to
feed you and work.

I ain't got no money.

Cost me a [mumbles]
dollar to raise you.

What the man.

You know what you get?

You're tall enough
like [mumbles].

Hello, Johnny Dean.

Well, you get too tall for me.

Go to heaven, follow
the Son of God.

- Come on, don't
listen to this guy.

Don't listen to him, he's crazy.

- [Bobby] What are you doing?

Go.

- [Bobby's Father]
But this is good.

- [Bobby] Come on, Pop,
now you been drinking.

- What are you doing here?

I can't work with you around.

- What do you mean?

You called me.

- Oh, who's sorry now?

Who's sorry now?

Let it be, let it be.

I'm going home to see my lady.

[fast-paced music]

[calm music]

- What are you going to
do with all your stuff?

Why don't you put it back?

- I'll leave them there.

- Put your things away, please.

- Okay.

Each in its place.

[laughs]

[kisses]

- What did you do last night?

[slow music]

Billy and Nada.

- I was on stage in
the middle of a song

and I realized that I'd never
be able to create an audience

of feelings that
inspire the songs.

They were drawn there like
the crowd around a car wreck

and I'd never be able to
make it in a different time.

I always felt that way but it
just suddenly got intolerable.

I mean, the thing is, who'd
even want to feel like me?

I don't.

- Did you get any money?

[laughs]

- That was all my rights
and royalties, everything.

Are you happy now?

- Who do you love?

- You.

- Who do you hate?

- You.

- At least we got some
publicity out of it.

- I don't think he will
abandon his future.

The money is too good.

- Kellerman, that's the problem.

He hasn't seen any
of the money so far.

[shouting]

[knocking]

What are you doing here?

- I've gotta talk to you.

- Okay, I'll be
there in a minute.

So listen...

[slow music]

- I couldn't reach you but I
knew you'd be on your way home.

- Yeah, big business.

Got plans.

Hurry up, the ferry
arrives in 10 minutes.

- I only need a second.

- Listen, these guys,
they're gonna sell you

from coast to coast, and man,
I got you the inside track.

- They've been
selling me for a year.

Now I want to sell.

My rights, royalties,
everything, you can have them.

I'm trying to sell for 5,000.

- How are you going to do that?

- What do you mean?

- I mean you must be joking,
selling everything for 5,000!

- Listen, Nada.

You told me I should find a
stupid, uncomplicated girl.

Well, maybe you were
talking to yourself.

Maybe you should
find another man.

- An uncomplicated man.

You're absolutely right.

[calm music]

- Operator?

Could you give me 431-6053?

Thanks.

Hello?

Could I talk to Mr. Andy Warhol?

[knocking]

Come in, the door is open!

Tell him to call me back in
the Westbury in room 705.

Thanks.

Nice to meet you.

- You don't remember?

[kisses]

- Five months is a long time.

You can't just disappear on me.

- French TV gave me a
very good job in New York.

- Oh, more interesting?

- Why are you so mean to me?

Are you in love
with somebody else?

- Of course.

- I missed you.

- Really?

- Come on out of there, Nada,

I want you to look
at the mirror.

You'll really be surprised.

[slow music]

- Billy?

I'm leaving you now.

It's better for you and for me.

You're driving me crazy

and I'm not the
right woman for you.

Don't forget this tape.

It shows the beginning and the
end of an impossible dream.

- Jack Bleaker, please.

- You're a couple
of nice friends.

This is your kind of atmosphere.

After a couple days, I'm
sure you'll enjoy it.

Like I said, don't
worry about it.

All free.

Company pays for everything.

What do you think?

Like it?

Hello, Eric.

- Hi.

- Here are the keys.

Call me later.

And don't forget, she's
already forgotten you.

- Al!

- I got a call from Frankfurt.

- Please, not now.

- Mm-hm, they want
me to come back.

- Don't be such a drag.

- If I don't make
the Warhol interview,

they won't pay any
longer the hotel.

- [laughs] Well,
perhaps I can help you.

If you give me the
number, can call it.

- Right now?

- Yes.

- Don't be such a drag.

- I got a secret recipe.

Like the recipe...

- And what works to make
political statements

with their music?

- That's bullshit, that's dumb.

- What do you think
other people should do?

- They can do
whatever they want.

- Hello?

Mr. Warhol?

Oh, I can't wait any longer.

Can you tell him tomorrow to
call me back in the Westbury?

He got my number.

And offer is from
German television.

I wanted to make this
interview with Mr. Warhol.

Well, you just called me!

Call me back in the Westbury.

Room 705.

Thanks.

- What is your occupation?

- Lying.

- Are you afraid of anything?

- No.

I know I'm gonna die one
day, so who gives a shit?

[calm music]

- Operator?

I was looking for
this nightclub.

Did you get the address for me?

♪ I was a child who
wanted a love so wild ♪

♪ Though tight as slow motion

♪ But crazed with devotion

♪ Babe, insane with devotion,

♪ Just a whole other notion

♪ I was 14 1/2 and
it wasn't no laugh ♪

♪ Love comes in spurts

♪ Love comes in spurts

♪ Love comes in spurts

♪ Love comes in spurts

♪ I just can't get wise
to those tragical lies ♪

♪ Though I now know the facts
they still cut like an ax ♪

♪ Baby, love comes in
spurts, in dangerous flirts ♪

♪ And it murders your heart

♪ They didn't tell
you that part, baby ♪

♪ Love comes in spurts

♪ Love comes in spurts

♪ Love comes in spurts

♪ Love comes in spurts

[laughs]

[mumbling]

♪ I can't get you

♪ Ain't nothing...

[slow music]

- Last drink, we are closing.

- A whiskey straight.

- Okay.

- Do you know a girl named Nada?

- Nada?

- First I come to New York
and you ask me why I'm so cold

and then you don't
show up for a week

and now I have to play
the nursemaid again.

- Don't be so bourgeois, Alfred.

- What's wrong with your friend?

- Nothing.

- Nothing, nothing.

But weren't you
complaining all the time?

- Please, all I want you to do
is help me with my interview.

- You have a date with Marlowe
and [mumbles] in the studio

and I know nothing about it.

- Well, he was a fame critic.

Did a movie himself.

And then disappeared
to India for two years.

And now he's back in New York.

- Ready to roll.

Today, Nada Lumiere is
with Jonathan B. Marlowe,

author of the book
Escape To India.

10 seconds.

Five.

Okay.

- Mr. Marlowe, you went
from cinema to India

and from India to school.

- To learn, you
must go to school.

Less to the school of life
than to the cinema as school.

- [Nada] What is the difference
between cinema and school?

- You don't have to please
the students in school

because attendance
is obligatory.

- Do you still have
the desire to escape?

- If you choose to escape,

it can become a full
time profession,

leaving no room for growth,
spiritual or intellectual.

I think escape is
like a racetrack.

Once you have begun, no matter
how fast or how long you go,

you always come back to
the place where you begun.

- Mr. Marlowe, it is said
that the cinema is a place

for crime and magic.

What do you think about it?

- The crime?

Film steals images
from living beings.

The pleasure?

To show them to others.

- Why do people
go to the cinema?

- The movie theater has
its moment of glory.

One comes to sleep
in a bed of images,

to get an eyeful, to blind
oneself in the process.

To see too much and
to see too badly.

- What are you doing?

- Sorry, I forgot
to introduce myself.

I'm Lizzy Liebenfeld.

- Hi, Lizzy.

- I'm a filmmaker.

This is my first long film.

It's kind of an episodic
film based on chance.

I start with a person and
then I follow that person

until that person runs
into the next person

and then when that person goes,
I stay with the new person.

But that person is you now!

Wait a second.

I want to focus on you.

Shit.

- What's the matter?

- Gonna have to make
that last shot again.

- Well, your lead needs
a pass through makeup.

- Hi, I'm Lizzy.

Wanna be in my film?

- [All] Yeah.

- Can you be wild?

- [All] Sure.

- Okay, let's try.

- Want a ginger ale?

Take off your wig.

- No!

- [Billy] Take off your makeup.

- No.

- [Billy] Now take
your hair down.

- Why?

- I'm writing a song called
Young Girls In Funny Makeup.

- Could I talk to
Mr. Warhol, please?

No, this Hoffritz from
German television.

I was...

I'm trying to get ahold of
Mr. Warhol since about a week.

I'm here in New York now.

Hello?

Yeah, I want to talk to
Mr. Warhol, Andy Warhol?

Hoffritz, from
German television.

- Everything you tell me
about her sounds so strange.

- She wasn't that
crazy, I guess.

- When she was really
interested, she'd never say so.

- What would she do?

- An interview.

It was like it had nothing
to do with us personally.

She'd make the most intimate
moments look like business.

- Maybe she was just scared.

- When she finally left,
she didn't talk to me.

She said goodbye on a tape,
in closeup on herself,

and then just vanished.

- Imagine every family
would have a video.

- Giving each family a video,

it's like giving
each family a gun.

- How do you know she
went back to Paris?

Maybe she's still in New York.

- If Warhol doesn't
call tonight,

I'm gonna cancel the
whole interview and
go back to Germany.

- Mr. Kellerman, we're expecting
a really important call,

so could you keep your
conversation short?

[doorbell rings]

- You didn't expect me.

I called Harry at the TV studio
to find out where you were.

This is Lizzy.

- Hi.
- Hi.

- I brought you something.

- Oh, wonderful.

What's on it?

- Nada.

♪ Happy birthday to you

♪ Happy birthday to you

♪ Happy birthday dear Nada

♪ Happy birthday to you

- [Billy] Now blow
out the candles.

- Look, Kellerman, I
invited you to the party

and you spend all your
time on the phone.

I told you we're expecting
a real important call.

Where's your friend?

- I don't know.

- What do you think
you're doing here?

- We do not think but thought.

We are fascinating possessed.

- That's fine, but you're
supposed to be having fun here.

So get yourself under control.

- I never had any control.

People come and go
whenever they feel like.

I'm only the manager.

- When I finish shooting it,

I'm gonna blow it
up from eight to 35.

- I would never do that.

Once you're on 35,
you're a stocking.

You've gotta engage
more and more people,

you've gotta raise
more and more money,

and in the end you have
to do everything yourself.

- Did you get my message?

- You know, there's still some
things of yours at the loft.

- I would have known
you were moving out,

would have stayed at the loft.

- I could never
stand that place.

When are you going
back to Paris?

- I have to do one
more interview.

- You know, I started playing
again because I miss you.

- Did you really make
five films in 35?

- Alright, that's it.

I want you out.

- But it was for you.

- For me?

Who was it?

- I don't remember.

- Well, can't you
remember the name?

- It sounded like Factory.

- Factory?

- Alfred!

It's Warhol.

- Hello?

Yeah, that's Alfred's.

Yes, of course.

Yes, sure, Mr. Warhol.

Yeah.

Bye.

Harry.

We have to get the studio for
tomorrow morning at seven.

- I've been married
for 38 years.

I've never regretted
it one moment.

- Yeah.

- Have I ever shown you
some pictures of Alice?

- Sure, yeah, yeah.

- No, I have some
brand new ones.

Here, look.

- Lovely.

She looks so happy.

- After 38 years
and six children,

Alice said to me "Love is
what you've been through

"with someone."

- Photograph retains all.

It's a cadaver to be worked on.

Cinema retains for a mere
moment and is death at work.

Television retains
nothing at all

and is the deadly
procession that hemorrhages

all its majors.

- Where's Warhol?

- No answer.

- He was supposed to
be here an hour ago.

- Maybe he's just leaving.

- Can you turn
down those floods?

- What?

- Can you turn
down those floods?

- John, could you turn
off the scoots, please?

- Who's that?

[whirring]

[violin music]

- Who is this?

- I don't know.

I thought you sent them down.

- Ready for take one!

- Who are you?

- I'm Andy's assistant.

- That's fine, but where's Andy?

- Well, Andy was really busy

so he thought it
would be a good idea

for me to come down
and play in my goggles.

- They're very nice.

- Do like my goggles?

- It's a very good idea.

I like the goggles,
I like the belts.

Maybe we can feature you
on one of our next shows.

- Oh, oh, good.

Well, maybe I should come back.

- Come back, I really
like the goggles.

- Come back probably tomorrow.

- That's fine, that's great.

- [Assistant] Do you think
you could get some music

somehow I can play?

- [Man] Yeah.

- Who was he?

- Andy Warhol's assistant.

- Warhol's assistant?

And why was he playing violin?

- I don't know.

- Lizzy, do you have
the keys to the car?

- They're in the pocket
of my leather jacket.

- Bye, Lizzy.

- [Lizzy] See you later.

- Honestly?

But you're sure he's on his way?

Okay.

They just told me he's coming.

- I told you he was
a serious person.

He wouldn't screw us.

- You know, this guy
wasn't his assistant.

- Who was he?

- I don't know.

- Alfred.

- Harry.

- It's Warhol.

Someone has to go down
there and talk to him.

- [Alfred] You speak much
better English than I do.

- [Harry] It's your interview.

- [Alfred] Yes, but you are
the American co-producer.

- [Harry] Hoffritz, go down
there or else he'll leave.

- [Alfred] Alright, alright.

Where's my script, have
you seen my script?

- [Harry] There was
no script for this.

Stand by, camera one.

Stand by, camera two.

- Mr. Warhol, thank you
for being our guest.

This is your show.

You can say and do
whatever you like.

Our cameras will follow you.

- What the fuck is he doing?

Mr. Hoffritz, could you
come to the control room?

What's he doing?

- Nothing.

- I'd like to know
what you think

about sentence of [mumbles]

who says that cinema is a
place for crime and magic.

- Well, I still don't
understand what the crime part,

the question, but I always
think about the magic part

of the question is when it
really shows magic, you know.

And especially with people,

some people have that magic
that when a camera goes on you

that there's an extra energy
or something, you know,

for some people, it's,
you know, beautiful people

and it makes such a difference

when they can get that
extra magic on the screen.

I don't understand
it but it happens.

Can I take a photograph of you?

- You can do it.

- Can I take another one?

[slow music]

[kisses]

- What's the matter?

- I've been thinking about us.

You and Lizzy, me I've got
a friend I can work with.

There's no problem.

But is it happiness?

- [Billy] You wanna be happy?

- The only excitement I have
is in my damn interviews.

What about your manager
and the company?

- I try not to be a sucker.

You know, I sometimes
still walk off stage.

But I've gotta cut that
out, they like it too much.

Sometimes I really miss you.

- We can try to find a
flat that we both like.

- Yeah.

- And I can find another job
in New York and stay forever.

- Sure.

[rock music]

♪ I was sayin' let me out of
here before I was even born ♪

♪ It's such a gamble
when you get a face ♪

♪ It's fascinatin' to observe
what the mirror does ♪

♪ But when I dine it's for
the wall that I set a place ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Triangles were fallin' at the
window as the doctor cursed ♪

♪ He was a cartoon long
forsaken by the public eye ♪

♪ The nurse adjusted her
garters as I breathed my first ♪

♪ The doctor grabbed my throat

♪ And yelled, "God's
consolation prize!" ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Take it

♪ To hold the T.V. to my lips,
the air so packed with cash ♪

♪ Then carry it up
flights of stairs ♪

♪ And drop it in
the vacant lot ♪

♪ To lose my train of thought

♪ And fall into
your arms' tracks ♪

♪ And watch beneath the
eyelids every passing dot ♪

♪ I belong to the
blank generation ♪

♪ And I can take it--

[audience applauds]

- [Nada] Where's Billy?

- I think he went
to the bathroom.

[slow music]

- I just came to say goodbye
because I'm leaving to Paris.

Tomorrow.

And...

I'd like to tell you,

I just want--

- Don't tell me.

You want me to drive
you to the airport?

- What do you mean
you want to go alone?

- Don't get excited.

Of course I'm coming
with you to Paris.

- You're coming
with me to Paris?

I'm coming with you to Paris.

Because, because normally,
normally I would have gone back

to Frankfurt.

- All I want to do is go alone
with Billy to the airport.

- So I can carry
everything myself, huh?

That's typical.

[gentle music]

[kisses]

- Nada forgot to
give you this tape.

- We would have separated long
ago except for the children.

- Who are the children?

- Me and Nada.

- I'm not going
with you to Paris.

I want to stay here.

- What?

- I wish you good luck.

[slow music]

[rock music]

♪ I was sayin' let me out of
here before I was even born ♪

♪ It's such a gamble
when you get a face ♪

♪ It's fascinatin' to observe
what the mirror does ♪

♪ But when I dine it's for
the wall that I set a place ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Triangles were fallin' at the
window as the doctor cursed ♪

♪ He was a cartoon long
forsaken by the public eye ♪

♪ The nurse adjusted her
garters as I breathed my first ♪

♪ The doctor grabbed my throat

♪ And yelled, "God's
consolation prize!" ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ Take it

♪ To hold the T.V. to my lips,
the air so packed with cash ♪

♪ Then carry it up
flights of stairs ♪

♪ And drop it in
the vacant lot ♪

♪ To lose my train of thought

♪ And fall into
your arms' tracks ♪

♪ And watch beneath the
eyelids every passing dot ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪

♪ I belong to the
blank generation ♪

♪ And I can take it or
leave it each time ♪

♪ Well, I belong
to the generation ♪

♪ But I can take it or
leave it each time ♪