C.R. Gibson Quotes

For me, we've been singing diversity in movies for 16 years, so it's just beautiful to see the rest of the world finally catching on and they're making it a point to do it.

I think the worst thing you can do is take an arrogant approach and not give people enough content to wrap their heads around.

I think ultimately a fan is a fan and you can't put new things on the fans mind if you don't have an audience.

I think the most significant moment at a wedding is when you say "I do" and when you do the first dance.

I'm definitely more talented than most of the guys I know.

Is Chris Rock still gonna host the Oscars after this blatant racism?? Is everyone still gonna show up??

In this town [L.A], I guess it takes homosexuals to be discriminated against in order for someone to finally step UP and wanna do something.

When you play somebody's life, everything about your likeness, everything about the way you talk, whatever, has to become that person.

What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger.

The past is past, the future unformed. There is only the moment, and that is where he prefers to be.

Some very considerable part of the gestural language of public places that had once belonged to cigarettes now belonged to phones.

She walked on, comforted by the surf, by the one perpetual moment of beach-time, the now-and-always of it.

I very seldom compose anything in my head which later finds its way into text, except character names sometimes - I'm often very much inspired by things that I misunderstand.

The present tense made him nervous.

[The currency of being celebrity] used to be only the elect had any manna in the information society and everyone else was a consumer.

He took a duck in the face at 250 knots.

Three in the morning. Making yourself a cup of coffee in the dark, using a flashlight when you pour the boiling water.

The prefix cyber is going the way of the prefix electro.

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.

I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from?

I don't always like writing, but I very much like having written.

The written word still enjoyed a certain prestige here. It was a sluggish country.

I do not think an enormous permanent underclass is a very good thing to have if you're attempting to operate something that at least pretends sometimes to be a democracy.

I'm not the only one: witness Pokemon! They still keep coming up with this stuff that just rivets us in unexpected areas.

I realized that everyone in Western society, in some weird way, believes that they've had the experience of producing feature films.

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.

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.

I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.

It was hot, the night we burned Chrome.

I started writing short fiction very briefly, as I imagine is the case for some novelists.

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

You can get in a cab in Vancouver and the 20-year-old driver speaks more knowingly of Michael Ovitz than anyone in the industry. They just know! And it's perhaps not unhealthy.

We live in an age of seriously crap mass clothing. They've made a science of it.

It seems as though everyone is going to the currency of celebrity. Everyone's getting their own account of whatever that currency is. That's something neat.

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.

I think that I've always written about things that are very personal, but initially, I coded everything.

The experience of celebrity is gradually being democratized.

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.

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.

Art Deco for me except in its most crazed and attenuated forms, it's jut a matter of taste.

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.

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."

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.

I've been interested in autism since I've known about it, which is more or less since I've been writing.

The construct of William Gibson the Writer is coming down, and become more open. It's more of a Glasnost - Transparency! Transparency is what it is.

To some extent I'm guilty of wishful thinking. The absence of the interstitial I find unbearable.

Some people dote on contemplating disasters.

Tim Powers is a brilliant writer.