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.

Now, the relationship the storyteller has with the audience is a much higher quality relationship. You treat them with a lot more intelligence because the truth is that it's not my fault if you don't know what's going on. There are plenty of ways for you to find out. You can talk to all kinds of people, and you've got access to all this information. The onus is no longer on us, as a storyteller, to tell you. You can go out and find out yourself.

I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.

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.

I'm interested in how small the world really is, and this notion that what happens in one place affects someone else.

That's the fun thing of casting a show. I'm a pretty strong believer that TV makes stars, not the other way around. I love the idea of having a cast where people don't associate them with too much baggage, so there's a certain amount of transparency between the character they're playing and the audience.

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.