I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

There is a real comfort with the position of the victim, which can either result in true empathy or deep paranoia.

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.

That was something that I learned from Alan Ball from “Six Feet Under." He didn”t really like to have too many pop culture references because they don”t really hold up after a few years.

So for me to actually have access to women, to feminist women, to gay people, to trans people, to intellectuals, iconoclasts, weirdos, academics, just the people who don't normally get marketed to, in some way I kinda hoped that if I could collect all of them, I could say, "Hey! Look over here! There are enough people who like my stuff." And it sorta has seemed to be true.

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.

Someone will say to me, Oh that's so Jewish to interrupt. I say to myself, okay, is that code for you hate Jews? Or am I just being paranoid?