As he clearly states in Around Flesh, Trash & Heat, what ties all the films in Morrissey’s trilogy together, aside from Dallesandro's presence, is that all the films feature a “world where sex is dead” due the fact that the lead character is a product/victim of the sexual revolution (aka sex, drugs, rock ‘n’ roll) because, as an idiot idealist who bought into mindless hedonism, he has become a heroin addict who can’t get an erection, even with all the pussy and cocks that are incessantly waved in front of his face. Each one of the films focuses on the three main ingredients of the sexual revolution: Flesh being about sex, Trash being about drugs, and Heat being about rock 'n' roll with the films in the Paul Morrissey trilogy offering a less than nostalgic view of this trend that still lingers today among youth. Despite being constantly described as a loose remake of Billy Wilder’s Sunset Boulevard (1950), Morrissey described the final film in his trilogy Heat as being intrinsically influenced by Josef von Sternberg’s The Blue Angel (1930) aka Der blaue Engel starring Emil Jannings and Marlene Dietrich, albeit with the gender roles reversed (instead of a young cabaret whore using and destroying an esteemed educator like in Sternberg's film, a drugged-out would-be-rock-star uses a washed-up actress to finance his career) with Sylvia Miles and Joe Dallesandro as the stars. In Heat, the anti-hero Joey Davis (Dallesandro) – a hustler and former child star – wants to jumpstart his rock star career so he superficially seduces an older Sally Todd (Miles) with the most patently pitiable yet perversely playful of results. Naturally, Paul Morrissey would continue to satirize the complete and utter worthlessness and corrosiveness of liberalism and counter-culture with his more professionally directed works like Forty Deuce (1982), Mixed Blood (1985), and Spike of Bensonhurst (1988).
As Paul Morrissey makes quite clear in Around Flesh, Trash & Heat, he almost singlehandedly ran Warhol’s factory for a number of years, but especially everything and anything related to filmmaking. Eventually, Morrissey became the manager and producer of The Velvet Underground and even made the crucial recommendation of adding German singer Nico (born Christa Päffgen), thereupon resulting in the film The Velvet Underground and Nico: A Symphony of Sound (1966), the revolutionary 'art rock' album The Velvet Underground & Nico (1967) and the seemingly thaumaturgic and quasi-psychedelic multi-media event The Exploding Plastic Inevitable (1966-1967), where the Factory filmmaker (with the help of forgotten filmmaker Danny Williams) would project footage he shot on the wall while the band performed. As Morrissey explained, in the documentary Factory Days: Paul Morrissey Remembers the Sixties (2006), The Velvet Underground inevitably disbanded because Lou Reed had a pestering and overwhelming jealousy of Nico, but the filmmaker would continue to work as the singer's manager for some time thereafter. Essentially, Around Flesh, Trash & Heat makes for a great introduction to the work, philosophy, and influence of Paul Morrissey, especially in regard to his original trilogy, so it is a shame that the French documentary is not exactly easily accessible, which is undoubtedly another sign of Andy Warhol's undeserved and unearned legacy haunting the anti-revolutionary revolutionary auteur filmmaker's work.