The poet John Giorno, asleep: as with Empire, our 42-minute excerpt can only suggest the experience of watching the original 6-hour film, but it does that rather profoundly. Warhol filmed Giorno, lying naked and sleeping soundly, over a period of nights; the camera was fixed-but in a different position for each magazine (approximately 3 minutes) of film. When these takes were assembled, each repeated twice, the film took on a design, a structure, that has been called the most architectural of any of Warhol's films. Warhol's camera-now close-up to the quietly breathing mouth, now shooting from behind a softly heaving abdomen-effectively abstracts the body, then pulls back for a full view. So the film is sensual and far from "boring"-in fact it can be fascinating, particularly in its redefinition of what it means to be lost in the somnabulistic/dream world otherwise known as the cinema. And it presents a special kind of voyeurism in depicting one of two acts we can never watch ourselves doing-depicting the one, and suggesting the other. For ultimately, Sleep becomes a meditation on mortality itself.