“I was in Studio 54 – I think it was 1979 or ‘80 – and Andy came up to me and introduced himself. He was very shy – and he started taking photos. He took them at very stealthy angles: click, click, click, click, click. Then a year or so passes and I’m in Hungary filming Escape to Victory with Pelé and Michael Caine. At the weekend, I go down to the Cannes Film Festival, just to take a break, and there he is at the Hotel de Paris. Andy goes, ‘Sylvester, can I take a portrait?’ And I say, ‘Yes’ and take my shirt off. At that point I’m very thin because I’m playing a goalie in a POW camp. So he takes probably the thinnest picture I’ve ever had taken of me since I made it. Then he sees me a year later at Studio 54. I now have a beard for Nighthawks and he goes, ‘I’ve got to do another portrait.’ I looked the complete opposite. That’s how we met and we just continued to cross paths. I got Andy, do you know what I mean? Talk about strange pairings but we just had a great rapport. But he never saw my art. I wasn’t going to brag about my art to Andy Warhol.”