I haven't made art about Israel. There's a covert subtext of Jewish identity in my artwork.

There are a lot of men with feminine leadership styles and there are a lot of women with masculine leadership styles.

We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.

I have never wanted to claim I know what is best for Israel.

By recognizing your own vulnerability you can recognize and identify with the vulnerability in others.

You have to totally change the way that society's structured in order to being to heal.

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.