L'Amour’s authorship reads like a micro-drama in Warhol-world politics: Paul Morrissey is the day-to-day director of the piece — he wrote and steered the production — and Warhol financed the film, but advertising designers nonetheless gave Warhol co-director billing. Warhol even delegated his cameraman duties to his boyfriend Jed Johnson (an editor by trade), while spending much of the shoot antique shopping with Yves Saint Laurent; nonetheless, the Warhol name was prominent in press materials. The episode didn’t erupt into a headline legal fight, but it exemplified a recurring pattern in Warhol-era projects in which Warhol’s star persona and financial backing blurred lines of credit and creative leadership, complicating the historical record of who ‘made’ these films and feeding later debates about authorship and recognition within the Factory’s collaborative machine.
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