[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 science fiction gives us a wonderful toolkit to disassemble and reexamine this kind of incomprehensible, constantly changing present that we live in, that we often live in quite uncomfortably.

[The currency of being celebrity] used to be only the elect had any manna in the information society and everyone else was a consumer.

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.

I think I'd probably tell you that it's easier to desire and pursue the attention of tens of millions of total strangers than it is to accept the love and loyalty of the people closest to us.

I think that I've always written about things that are very personal, but initially, I coded everything. I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there for me. 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.

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.