I'm quite good friends with the putative director, Vincenzo Natali, and I'm a big fan of his work, but beyond that, I don't like to talk about other people's work work-in-progress.

There's violence in my culture [from America's South].

It's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information.

I don't think we know yet what broadcast television did to us, although it obviously did lots. I don't think we're far enough away from it yet to really get a handle on it. We get these things, I think they start changing us right away, we don't notice we're changing. Our perception of the whole thing shifts, and then we're in the new way of doing things, and we take it for granted.

All we really have when we pretend to write about the future is the moment in which we are writing. That's why every imagined future obsoletes like an ice cream melting on the way back from the corner store.

A part of that [timewrap] for me was growing up in a culture that violence had always been a part of. It wasn't an aberration, though I realize that in retrospect. I grew up in the part of the U.S. where all of Cormac McCarthy's novels are set and that's a pretty violent place.

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.