I knew where the magnets were, behind the gyprock, and the magnets were very powerful. I think they had to be powerful for me, otherwise the reader wouldn't have a reciprocal experience. But I was very careful to bury them deeply, deeply in the plaster and paint over them. I didn't want anybody to directly access them, and that's gradually changed for me.

I can't do fiction unless I visualize what's going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.

You can get in a cab in Vancouver and the 20-year-old driver speaks more knowingly of Michael Ovitz than anyone in the industry. They just know! And it's perhaps not unhealthy.

The Internet is part of this ongoing, species-long project we've been working on since we climbed down out of the trees in the savanna. We've been working on it without really knowing it.

I loved the Limey [movie]! It's so violent! And yet it's so exquisitely romanticized in a sort of Japanese way, it's a samurai film. Coming out of that, I was really deeply conflicted, because a friend who had seen it said, it's beautiful, but it's not about anything. it's one micron thick.

The construct of William Gibson the Writer is coming down, and become more open. It's more of a Glasnost - Transparency! Transparency is what it is.

For years I have been mourning and not for my dead, it is for this boy for whatever corner in my heart died when his childhood slid out of my arms.