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I have this prejudice that trilogies are long, three-volume novels.

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
Three
Long
Trilogies
Volume
Novels
Prejudice
Novel

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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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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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[The currency of being celebrity] used to be only the elect had any manna in the information society and everyone else was a consumer.
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I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.
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Some very considerable part of the gestural language of public places that had once belonged to cigarettes now belonged to phones.
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What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger.
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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.
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I probably had something to do with being southern. For some reason, over the last few years I've been much more conscious of that. It's probably because my friend Jack Womack has a thesis that he and I write the way we do because we're southern and we experienced the very tail end of the premeditated south.
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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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His teeth sang in their individual sockets like tuning forks, each one pitch-perfect and clear as ethanol.
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The future's here already. It's just unevenly distributed.
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For me, the melancholy of the late XXth Century is walking late at night by the Mont Blanc pen store and seeing these things always strike me as simulacra of luxury items. They seem like fakes.
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I took Punk to be the detonation of some slow-fused projectile buried deep in society's flank a decade earlier, and I took it to be, somehow, a sign.
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The Internet is part of this ongoing, species-long project we've been working on since we climbed down out of the trees in the savanna. We've been working on it without really knowing it.
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My problem is that all things are increasingly interesting to me
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If someone comes in and says, What are you doing, if I'm honest, the answer is, I don't know. But I'm doing THIS, don't know why.
William Gibson
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I like the idea of people who've had some success in one form secretly wanting to be something else I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.
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The future is already upon us, it is just unevenly distributed.
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If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.
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If you make something, it's an artifact. It's something that somebody or some corporate entity has caused to come into being. A great many human beings have thought about each of the artifacts that surround us. Different degrees of intelligence and attention have been brought to bear on anything.
William Gibson