When I was a child, science fiction was the first source I've found for information. Science fiction was a very very low cultural stream in those days. It was completly below the radar and no one bothered to censurate it.

I realized that everyone in Western society, in some weird way, believes that they've had the experience of producing feature films.

Maybe I've been a small part of the democratisation of celebrity, because I've been fascinated by it, and when it started to happen to me to the very limited extent that it happens to writers in North America, I was exposed to people who had the disease of celebrity. People who had raging, raging, life-threatening celebrity, people who would be in danger if they were left alone on the street without their minders. It's a great anthropological privilege to be there.

All the speed he took, all the turns he'd taken and the corners he'd cut in Night City, and still he'd see the matrix in his sleep, bright lattices of logic unfolding across that colorless void.

I have this prejudice that trilogies are long, three-volume novels.

[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.

I think that the collectible ephemera craze/awareness is probably driven by a reverse market, rebounding off the sense of everything being mass-produced. It's the last step you take in trying to find something unique.