In this book, Warhol writes that he originally asked Charles Rydell, the boyfriend of filmmaker Jerome Hill, to star in the film, promising that there would be "five beautiful boys" to perform the act.
[citation needed] According to Peter Gidal, the film distances the viewer from the experience it purportedly depicts, "Sometimes the young actor looks bored, sometimes as if he is thinking, sometimes as if he is aware of the camera, sometimes as if he is not.
"[6] Critic Roy Grundmann argues that "Blow Job‘s self-reflexive devices create a new kind of spectatorial address that dislodges audiences from their contemplative positions in a number of ways.
Grundmann further claims that "viewers oscillate between an awareness of their contingency on larger scheme and the promise of ocularcentric mastery of the image".
[7] In 1966, Warhol filmed a sequel, Eating Too Fast (originally titled Blow Job #2) which runs 67 minutes with sound.