The present tense made him nervous.

To some extent I'm guilty of wishful thinking. The absence of the interstitial I find unbearable.

What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger.

The designers [of the 1930s] were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.

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 don't have to write about the future. For most people, the present is enough like the future to be pretty scary.

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.