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One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy

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
World
Fiction
Tunes
Strange
Isolated
Wasn
Precisely
Realizing
Teenager
Perceiving
Crazy
Data
Monstrous
Ability
Totally
Liberating
Science
Effects
Tune
Make
Realize
Sorts

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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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I think the least important thing about science fiction for me is its predictive capacity. Its record for being accurately predictive is really, really poor! If you look at the whole history of science fiction, what people have said is going to happen, what writers have said is going to happen, and what actually happened - it's terrible.
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Time is money, but also money is money.
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What strikes me about Toronto is that Toronto's great misfortune was to have too much money in the late 70s and early 80s, and consequently, it built in the style of those periods, which is hideous.
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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.
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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.
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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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It's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information.
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The street has its own use for things.
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I think I'd probably tell you that it's easier to desire and pursue the attention of tens of millions of total strangers than it is to accept the love and loyalty of the people closest to us.
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The future is here - it just has not been uniformly distributed.
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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.
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A lot of the buildings [in Toronto] around Yonge and Bloor is the architectural equivalent of Kipper Ties and 8 collar points. It's ghastly and no amount of street-level retail glitz can lift it.
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I think the least important thing about science fiction for me is its predictive capacity.
William Gibson
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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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There is always a point at which the terrorist ceases to manipulate the media gestalt. A point at which the violence may well escalate, but beyond which the terrorist has become symptomatic of the media gestalt itself. Terrorism as we ordinarily understand it is innately media-related.
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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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I was afraid to watch 'Blade Runner' in the theater because I was afraid the movie would be better than what I myself had been able to imagine. In a way, I was right to be afraid, because even the first few minutes were better.
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I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.
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In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
William Gibson