I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece.
Andy WarholRead
I love Los Angeles. I love Hollywood. They're beautiful. Everybody's plastic, but I love plastic. I want to be plastic.
Interpretation
The quote expresses a complex love for the artificiality and glamour of Hollywood and Los Angeles.
Andy Warhol's quote reflects his fascination with the superficial beauty of Los Angeles and Hollywood, where the allure of fame and plasticity coexist. He acknowledges the artificial nature of the culture, yet he embraces it, indicating a deeper commentary on the relationship between art, identity, and societal expectations in a world that often values the surface over substance.
In practice
In a discussion about the nature of fame in modern culture, this quote by Andy Warhol could illustrate the paradox of pursuing superficial beauty.
I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece.
Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.
Being good in business is the most fascinating kind of art
I never wanted to be a painter; I wanted to be a tap dancer.
I like to be the right thing in the wrong space and the wrong thing in the right space. But usually being the right thing in the wrong space and the wrong thing in the right space is worth it, because something funny always happens.
I love it when you ask actors, 'What are you Doing now?' and they say 'I'm between roles'. To be living 'life between roles' that's my favorite
Artistically I am still a child with a whole life ahead of me to discover and create. I want something, but I won't know what it is until I succeed in doing it.
Most poets are young simply because they have not been caught up. Show me an old poet, and I'll show you, more often than not, either a madman or a master... it's when you begin to lie to yourself in a poem in order simply to make a poem that you fail. That is why I do not rework poems.
I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have by reading novels.
I discovered writing children's books was a way to keep living in my imagination like a child. So I wrote a number of books before I started 'Magic Tree House.' Then, once I got that, I never looked back because I could be somewhere different in every single book.
The poet, the artist, the sleuth, whoever sharpens our perception tends to antisocial; rarely 'well adjusted,' he cannot go along with currents and trends.
The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous.
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