I like the idea of people who've had some success in one form secretly wanting to be something else; I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.

That's one of my favorite things about Twitter: You can tweak your feed into a fabulous novelty engine. That's only one thing you can do with it, but it's one of the things I find most entertaining about it.

I like the idea of people who've had some success in one form secretly wanting to be something else; I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.

I suppose I do the Japanese because I just don't know China. Chinese popular culture has never evoked that instant of, "Whoah! What's that?" that I have with Japanese popular culture.

[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 worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from?

The Simpson's in Piccadilly has been turned into the largest bookstore in all of Europe! How can they fill it? All of these purpose-built Borders and Chapters and every new mall that goes up has a giant chain bookstore with a purpose-built author reading space, whoah, what's gong on there.