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Futurists get to a certain age and, as one does, they suddenly recognize their own mortality.

William Gibson

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William Gibson
Age: 76
Born: 1948
Born: March 17
Novelist
Science Fiction Writer
Screenwriter
Writer
Conway
South Carolina
William Ford Gibson
Recognize
Age
Certain
Doe
Futurists
Futurist
Mortality
Suddenly

More quotes by William Gibson

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Somehow I think that if Toronto had been forced to wait a decade [from 80th], it would be a better looking city.
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Things aren't different. Things are things.
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He'd been numb a long time, years. All his nights down Ninsei, his nights with Linda, numb in bed and numb at the cold sweating center of every drug deal. But now he'd found this warm thing, this chip of murder. Meat, some part of him said. It's the meat talking, ignore it.
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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.
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We see in order to move we move in order to see.
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If I meet someone and discover that they're an absolute, very earnest nationalist, it's unlikely that I'm going to get much closer to them. I don't understand them. It doesn't matter where they're from, I just don't get it. I'm a multi-national kind of guy.
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When did it become necessary to explain what's so cool about Japan? Everyone was quite obsessed with it 15 years ago. I suppose it's the only Asian country that developed an imaginary entree to me. That's why I go back.
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That's one of my favorite things about Twitter: You can tweak your feed into a fabulous novelty engine. That's only one thing you can do with it, but it's one of the things I find most entertaining about it.
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Television has - particularly at the HBO level in the United States - become a completely new genre. Something like Deadwood or The Wire is a whole new thing - there was no equivalent to that medium before. It's like a new way of telling stories.
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His eyes were eggs of unstable crystal, vibrating with a frequency whose name was rain and the sound of trains, suddenly sprouting a humming forest of hair-fine glass spines.
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The street finds its own uses for things.
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A nation,” he heard himself say, “consists of its laws. A nation does not consist of its situation at a given time. If an individual’s morals are situational, that individual is without morals. If a nation’s laws are situational, that nation has no laws, and soon isn’t a nation.
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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.
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The future is there, Cayce hears herself say, looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.
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If ignorance were enough to make things not exist, the world would be more like a lot of people think it is. But it's not. And it's not.
William Gibson
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Fiction is an illusion wrought with many small, conventionally symbolic marks, triggering visions in the minds of others
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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.
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I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
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When you want to know how things really work, study them when they're coming apart.
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Hollis thought he looked like William Burroughs, minus the bohemian substrate (or perhaps the methadone). Like someone who'd be invited quail shooting with the vice-president, though too careful to get himself shot.
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