All you have to do is do a little bit of research and a floodgate of material comes your way.

In the shows I've done serialized storytelling with, there are big open questions, but you like every episode to be identifiable as what it is. It's also very important that each season is identifiable. There's usually some big thing that you're trying to wrap up. There are big bows that you're trying to tie, by the end of the season, that you would do anyway because it's just good storytelling to tie those things up.

The ability to be writing towards something that was actually going to be a whole series was a really big lure.

The depth of talent in Israel is just spectacular. I was very excited by it because when you cast in LA, you tend to see a lot of the same faces on lists for various parts.

The most exciting part of the casting process was casting out of Israel, which was a really unique process, mainly done remotely from California, looking at casting tapes.

With the casting in Israel, sometimes there were four or five people, that you could just flip a coin and choose from, that would have been all terrific. And seeing all of these fabulous faces that the American audiences are just not used to seeing is really exciting.

Tou don't have to spoon feed things to the audience. They have to work at things. Oftentimes, with binge-able stuff, second and third viewings are really important because you see, "Oh, that character I didn't like, that was supposed to be that way because, in Episode 9, he turned out to be a turncoat. Now, I'm going to go back and watch all those moments that I felt that way about him." That's what's fun about it.