He [Andy warhol] went out every evening to five or six parties with a tape recorder in one pocket and a camera with extra film and batteries in the other pocket, constantly recording and photographing everyone he came across.

I don't think he'd [Andy Warhol] be that amazed because he was so driven to be the Picasso of the second half of the 20th century.

He [Andy warhol] went out every evening to five or six parties with a tape recorder in one pocket and a camera with extra film and batteries in the other pocket, constantly recording and photographing everyone he came across.

Diana Vreeland was "the Empress," the avatar of the age. An old name or old money were not enough to get you into Studio 54 - or Interview magazine, for that matter. You had to have a lot of something else, like looks or brains or wit or fabulous clothes.

A lot of people found themselves working at the Factory and some even in his bed as a result of random occurrences like your call. Most famous artists have never been all that interested in meeting strangers. That was not the case with Andy Warhol at all.

I think because both of my parents were essentially salespeople, and Italian-Americans, I always seemed to get along with people; I had a knack of finding something to talk about.

Anyway, when I finished the book, I handed it in, didn't want to read it again, but when it finally was in print I felt like OK, I have to read this. And yeah, I thought God, this is petty, this is silly, too emotional, too raw...and maybe it was then, but now it all seems that it's so much better because all the stuff that felt petty and silly now seems more relevant because Andy was so important.