A Quote by Bob Colacello

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.
Curator Shantrelle P. Lewis left for Amsterdam an Andy Warhol fellow, and came back with a film in her pocket. Please support this confrontation of the Netherlands' violently passive aggressive racist traditions, by an American Southern, aggressive aggressive. She's a top notch thinker and lover of questions.
No one coaches what to do after three seconds, after the quarterback's broken the pocket or he's been in the pocket for five, six seconds.
Nothing shows both polish and utility like the nattily tucked pocket handkerchief or 'pocket square' in the breast pocket of a man's blazer, sport coat, or suit jacket.
Three years ago I came to Florida without a nickel in my pocket. Now I've got a nickel in my pocket
I had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.
I counted how many seconds it takes to get my smartphone out of my pocket, open it up, find the camera app, wait for it to load, and then take a photo. Six to 12 seconds.
Cecil Beaton was Andy Warhol before Andy Warhol, really.
I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan's work. Like Andy, Ryan's finger is so on the pulse of culture that he's ahead of culture. Their aesthetic and their vision of the world are very similar.
I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan’s work. Like Andy, Ryan’s finger is so on the pulse of culture that he’s ahead of culture. Their aesthetic and their vision of the world are very similar.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
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.
Having my feet be as good as I want them to be can get me out of a lot of problems when I'm in the pocket and stuff starts to break down. There's rarely ever a perfect pocket.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.
My first songs, I would just record them on this little tape recorder, and then I didn't start recording songs I really liked until my friend gave me a 4-track (recorder) and that's when my ideas really started coming together.
In the pocket, you do have some protections, but you get out of the pocket, and defenders' eyes get big. Sometimes you learn that the hard way.
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