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

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.

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.

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.

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.

Even the most loyal viewers of a show would only watch one out of three episodes. As someone who made television, I always found that hard to believe because you want to believe people who love your show are watching every episode, but statistically it was true that people who considered themselves the most loyal viewers were only watching one out of three.

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.