My books often involve characters who began in some form of mental isolation, with a feeling of having died to the world. Then they become involved in some kind of action where by necessity they're forced to reengage, to get back into the game of life, as it were. You could say that about 'Chance.'

I've continued to write fiction since being in television. TV is a different kind of writing, but it's all writing. It was David Milch of 'Deadwood' who helped me to see it that way. We later collaborated on the short-lived 'John from Cincinnati,' but I'm very proud of the work we did together.

I've always relied a lot on landscape in my books, the atmosphere of a particular place, as well as a fair amount of external action. While writing 'Chance,' it occurred to me that this is the most internal book I've ever written. So much of the action takes place in Chance's head.

In Canada, there's a surprising worship of managerialism versus ownership and wealth creation. There's a real problem in this country with believing that management is the answer to our problems.

The problem of a rising population destroying more than four tons of soil for every human already alive needs to find its way into corporate board rooms if we are to enjoy future financial, economic and political stability.

A company can spend hundreds of thousands of dollars on firewalls, intrusion detection systems and encryption and other security technologies, but if an attacker can call one trusted person within the company, and that person complies, and if the attacker gets in, then all that money spent on technology is essentially wasted.

My mother, she had a very good attitude toward money. I'm very grateful for the fact that we had to learn to save. I used to get like 50 pence a week, and I'd save it for like five months. And then I'd spend it on Christmas presents. I'd save up like eight pounds. It's nothing, but we did that.