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
Everybody must have a fantasy.
Interpretation
Having a fantasy is essential for creativity and personal fulfillment.
This quote by Andy Warhol emphasizes the importance of having dreams and imaginative ideas in life. Fantasies serve as a source of inspiration and motivation, driving individuals to create and pursue their passions, whether in art or in any other aspect of life.
In practice
During a motivational speech about pursuing dreams, one could use this quote to inspire creativity.
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.
I love Los Angeles. I love Hollywood. They're beautiful. Everybody's plastic, but I love plastic. I want to be plastic.
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.
It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
It is not my job to compare my movies. I don't like to compare my films with other movies because I don't really have that perspective. It is an intellectual exercise, but it doesn't intuitively come to me.
Life imitates art far more than art imitates Life.
If you write fiction, you have to love your characters. It's like your family. You don't have to like them, but you have to love them.
If a man comes to the door of poetry untouched by the madness of the Muses, believing that technique alone will make him a good poet, he and his sane compositions never reach perfection, but are utterly eclipsed by the performances of the inspired madman.
When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.
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