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.

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.

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.

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.

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.