I’d never wear it. I’d go into a panic if I ever had to wash it. So it lives on a shelf. But that Warhol shirt is just perfect. Perfect, perfect, perfect. I think things have a personal value when you get them in real time. I have a Siouxsie and the Banshees T-shirt that I bought in 1982, when I was in high school in the States. It’s a beauty. Yet there’s something else about a shirt that represents something you didn’t do in real time, something you wish you could have done if you were a little bit older, a little bit cooler, a little bit more fortunate geography-wise. King says he, Baker and Susan Tyrell threatened to quit the film if they shot a scripted scene where a baby was thrown out the window. Jed Johnson promised not to shoot the scene but King says "the minute we finished shooting and had left--they went and shot that. As much as I hate it--it really fits in with the rest of that over-the-top universe." [5] Reception [ edit ]

If you're returning items from our Buy 3 Get 1 Free Multibuy range then you will be charged for any items that you are keeping.PLEASE NOTE: In some European countries you may be asked to pay a surcharge to receive your parcel. The movie was made without Paul Morrissey and Joe Dallesandro, the director-star team from previous Warhol movies. Perry King played a Dallesandro-type role and says the crew would sometimes call him "Joe". [5] Director Jed Johnson was Warhol's companion at the time. [2] a b Horna, Jed (September 27, 1976). "Andy Warhol Thinks Everybody and Everything Is 'Great' Except His Latest Movie—it's 'Bad' ". People Magazine. Siskel, Gene (June 8, 1977). "Warhol's 'Bad' is bad and that's not good". Chicago Tribune. Section 2, p. 6. King says he and Baker struggled until halfway through the shoot. "We couldn't count on help from [director] Jed Johnson because he was just a kid and he didn't really know what he was doing", he said. [5] They asked Susan Tyrell for help and she said they made a mistake reading the script. King says, "It sounded insane to me, but you know, she was absolutely right. If you're working on a Andy Warhol film you can't approach it like it's a conventional film with a beginning, middle and a end. You had to forget about the character arc... this was an Andy Warhol movie. You had to give yourself over completely to that world. You had to embrace that world and one of the things you did was to improvise everything. They didn't want to do anything conventionally." [5]

His ideas have often been seen on catwalks. At Calvin Klein in 2017 , Raf Simons put Warhol artworks in ad campaigns and on clothing, using the artist as a prism through which to explore American culture. In the 80s, Stephen Sprouse was inspired by the Camouflage paintings, while Jean-Charles de Castelbajac’s SS84 collection included a Campbell’s soup can dress. King says he was cast without auditioning. He had just been in Mandingo (1975) which he says "was a big deal because it was kind of trashy. And trashy, to the Andy Warhol universe, was what they liked. Trash was big art to them." [5]G. and R.C. wander in and out of the house and occasionally torture her sister-in-law with mean comments about her weight and absent husband. L.T. delights in this and does nothing to prevent it. King said Warhol "makes no effort to communicate his concept of the film, but it's a strong concept. You begin to feel it. There is a short hand among these people. There is a very special Warhol world view here and it's hard to define. But it will lose its edge in the professional technique." [6] Baker later said ""It had nothing to do with film-making, it had nothing to do with any other experience I ever had. It was like working on the moon. But he (Warhol) wanted me, he cast me in it, I wanted to do it, and it was such a big hit in Europe." [8]