OUTER AND INNER SPACE (DOPPELPROJEKTION)
I always wanted to do a movie of a whole day in Edies life. But then, that was what I wanted to do with most people. I never liked the idea of picking out certain scenes and pieces of time and putting them together, because then it ends up being different from what really happened its just not like life, it seems so corny. What I liked was chunks of time all together, every real moment. Somebody once asked Mario Montez what working with me was like, did I «rehearse» the actors, etc., and Mario told them that since rehearsing was related to editing, naturally someone who wouldnt edit his movies wouldnt rehearse them either. That was exactly right. I only wanted to find great people and let them be themselves and talk about what they usually talked about and Id film them for a certain length of time and that would be the movie. In those days we were using Ronnie Tavel scripts for some of the movies, and for others we just had an idea or a theme that we gave people to work with. To play the poor little rich girl in the movie, Edie didnt need a script if shed needed a script, she wouldnt have been right for the part.
«POPism: The Warhol 60s»,
Warhol and Hackett, N.Y. 1980
Together with the screening of <filmlink id=\"1796\">The Velvet Underground</filmlink>
- Edie Sedgwick