When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written.

I think that technologies are morally neutral until we apply them. It's only when we use them for good or for evil that they become good or evil.

In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.

I feel like I've been very fortunate in that I've stuck like a burr to the dog-leg of the next generation of nerdism. I've been carried into the XXIth century on Bill Gates' pants-cuff.

Novels set in imaginary futures are necessarily about the moment in which they are written.

The deadliest bullshit is odorless, and transparent.

[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.