The speed and ease of [Warhol's] movie-making are based on the theory that nothing that an artist produces in the course of his work can fairly be called a mistake; everything he has done being of value because he has done it, all accidents are equally benign, and to have second thoughts about them, much less to consider "correcting" them, would be not only a waste of talent, time, and money but also a rude betrayal of the original inspiration. This appealingly circular theory has permitted Warhol to accumulate a very large number of movies in a very brief period of time; I have seen some of most of them and most of some of them, if not all of any of them, and I find that they run together in memory without boundaries—a vast human comedy that, in its serene mindlessness, resembles a mountain of sludge...