This perpetual toggling between nothing being new, under the sun, and everything having very recently changed, absolutely, is perhaps the central driving tension of my work.

I'm embarrassed if I think anyone knows exactly what I paid for something, or even where I got it. I want what I'm wearing to feel good on, wear well, and to be extremely functional.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts.

I think that I've always written about things that are very personal, but initially, I coded everything.

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.

I'm not the only one: witness Pokemon! They still keep coming up with this stuff that just rivets us in unexpected areas.

If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.