A Quote by Bob Colacello

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.
What bothers people more than anything is that I'm an old guy taking photos of them. But maybe if you look at the photos, 20, 30 years later, it's not going to matter who took the photos. I mean, they would just be there. People will hopefully get over that.
When we launched our [ Vogue] site around five years ago, I had already started this process on paper. We are now building an enormous portfolio of photos, we've uploaded two million photos and we have three people that review them.
Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.
Learning that aesthetic as a kid - seeing those photos - made me think that that's what photos are supposed to look like. I never understood snapshots. I was looking at them like, "This is horrible; that's not what a picture is supposed to look like." I was taught by these photos. So when I picked up the camera, though I had never done it before, I kind of already knew what I was doing.
Things changed a little when I started taking photographs for magazines. I was afraid in the beginning. I thought, "Oh I can't do it, because I have never taken a photographs commercially for a magazine." But I wanted to learn so I started. But when I took models from agencies, I took beginners. Sometimes they were really good, but you have to work with them. You have to be good with women and the boys.
I was a fan of Andy's since I was a small kid. I recall seeing an ad of famous people on an airplane together. It was caricature drawing. There was Muhammad Ali, there was Miles Davis, and there was Andy Warhol. I had a fascination with him since I was little.
Andy Warhol: I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about? Andy Warhol: Yes, it's liking things.
It never occurred to me that there were so many wonderful photos that had been orphaned and were out there in the world, waiting to be found. Over time, I found a lot of very strange pictures of kids, and I wanted to know who they were, what their stories were. Since the photos had no context, I decided I needed to make it up.
I never heard my mom say, "Not now, I'm busy." But I did have extraordinary experiences that I'm very aware were extraordinary. I mean, I traveled Europe before I was 12 years old, had been to the White House numerous times. Andy Warhol photographed me; Michael Jackson called our house.
When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.
After Andy Warhol died, it left a dark cloud over N.Y.C. nightlife.
I'd been asked by Takashi Murakami to collaborate on something, which was an honor for me. I was really pleased. And then he had me as a guest speaker on his radio show, and we were talking about art. I don't think he knew I was interested in the topic - he was really surprised to find out that I own some original Andy Warhol and Gerhard Richter and Jean-Michel Basquiat works. So, in some ways, I think he simply wanted to see what I have.
One thing about Andy Warhol that was remarkable and also key to his widespread appeal is that he was so open! He would get on the phone and talk to the kid who called to say he was a fan - you know, Andy would walk from his house every morning down to the Factory carrying a bunch of Interviews - people would stop him and he would sign them, and what have you.
Cecil Beaton was Andy Warhol before Andy Warhol, really.
When I was sixteen and knew nothing about art, I sat through almost six hours of Andy Warhol’s Empire. I did not understand it but thought: this is in a major museum, it must be important, what is going on here? I stayed until the museum closed. His Screen Test films are some of my favorite works made this century, but you need to give them back the time they took to be made.
25 years ago, when I started in New York, I had the pleasure to cook for Andy Warhol. At the time, I could have traded art for food - I should have done so, because I could get his work for nothing!
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