I've always been interested in people who aren't from anywhere in particular. I think it's all melting. This has been true for as long as I can remember in my adult life.

If you’re fifteen or so, today, I suspect that you inhabit a sort of endless digital Now, a state of atemporality enabled by our increasingly efficient communal prosthetic memory. I also suspect that you don’t know it, because, as anthropologists tell us, one cannot know one’s own culture.

[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.

When I was first writing about Japan, it was at the peak of the Bubble. Bubble popped, but they kept on going. Japanese street style feeds American iconics back into America in somewhat the way English rock once fed American blues back into America.

Time is money, but also money is money.

I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.

The box was a universe, a poem, frozen on the boundaries of human experience.