What often seemed like meanness or coldness was really fear of emotions and intimacy.

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.

You can't hang around geniuses forever because they end up taking everything you've got. That's why they're the genius and you're not.

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.

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.

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.

Andy [Warhol] put on his fey kind of act, but he wanted to be number one and he succeeded. But you never know. Fifty years from now he might not be seen as so important, but the way our whole culture has gone, and the way it continues to go, is his way - for better or for worse.