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.

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.

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.

Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.

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 mean when the book first came out it was not a bestseller, but it got good reviews and at that point I was done writing about Andy, done talking about Andy....but now, I kind of love it. All these smart, attractive young people think I'm cool! So here I am a guy in his sixties with all of these interesting friends in their twenties. It's very stimulating and keeps me very much in the present.

I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.