I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."

There are times when folks will point out certain characteristics I have, like me being an interruptor, and attribute them to my Jewish identity.

In the little travel I've done to other countries, the Jews there embraced me saying, Come to our house, come and have Shabbat with us. Jews in the Diaspora. I didn't imagine an Israeli traveling to the U.S. would feel this intensity of a forced relationship.

I think people don't really actually talk about what their real issue is, which is that white, cis men - not straight men, but cis men - have had their hands on the narrative ever since filmmaking has begun.

I did a piece where I was talking about torture at Abu Ghraib, and I embroidered my hand with the image of the hooded Abu Ghraib prisoners who'd been tortured using a needle and thread. I know that meeting a Holocaust survivor when I was eight and seeing the tattoo on her arm from her time in the camps influenced my piece about Abu Ghraib.

I still see storytelling for men by men that is always reinforcing the male gaze.

It's interesting to think about the history of Israel in relation to the history of the U.S.. There were Native Americans living here that U.S. settlers totally displaced, and that narrative is not connected with the Isreal-Palestinian struggle at all.