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.

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

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

You can very often start a new season with a lot more viewers than you had, leaving off the season before. It's a chance to pull the show into a train station, stop the train, and let all these new viewers on, so you can tell a new story. In some ways, a second season is a chance to tell a brand new story that you can wrap up, at the end of it.

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.

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.