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I'm happiest with people who've gotten furthest from traditional ideas of nationalism.

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
Happiest
Nationalism
Gotten
Traditional
Ideas
People
Furthest

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I can see television much more easily than I can see features, because the economy and politics of making big, big features seems to me to be narrowing even from what it was.
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To the very limited extent that I have a political consciousness, to some extent I'm a lazy, apolitical sort of guy that just flits around.
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To the extent that I can still believe in Bohemia, which I think is very important to me in some way that I don't yet really understand, to the extent that I still believe in that, I have to believe that there are viable degrees of freedom inherent if not realized in interstitial areas.
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To some extent I'm guilty of wishful thinking. The absence of the interstitial I find unbearable.
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Somewhere, deep within her, surfaces a tiny clockwork submarine. There are times when you can only take the next step. And then another.
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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.
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The most common human act that writing a novel resembles is lying. The working novelist lies daily, very complexly, and at great length.
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People who feel safer with a gun than with guaranteed medical insurance don't yet have a fully adult concept of scary.
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The past is past, the future unformed. There is only the moment, and that is where he prefers to be.
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I don't always like writing, but I very much like having written.
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We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.
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You must learn to overcome your very natural and appropriate revulsion for your own work.
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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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We have no future because our present is too volatile. We have only risk management. The spinning of the given moment's scenarios. Pattern recognition.
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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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When I was a child, science fiction was the first source I've found for information. Science fiction was a very very low cultural stream in those days. It was completly below the radar and no one bothered to censurate it.
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I don't generate a storyline and then fill it out in the course of writing. The story actually generates in the course of the writing. It's one of the reasons I've never been comfortable doing screenplays, because in order to get the contract for the screenplay, you have to sit down and tell them what's going to happen.
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The 'Net is a waste of time.
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Cyberspace. A consensual hallucination.
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We don't legislate emergent technologies into existence. We almost never do. They just emerge, dragged forth by Adam Smith's invisible hand. Then we have to see what people are actually going to do with them, and try to legislate to take account of that.
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