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And action!

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It's huge.

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It's mind blowing.

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I have to keep reminding myself
that they're not real.

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It's like a historical movie, actually,
what we are doing here.

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This is 90 percent of my filming
experience, here?

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Is like this.

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Come over here to do a show
set in Williamsburg,

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to do it in Berlin, it kind of, 
you know, plays with my head.

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A series in Yiddish, for me also,
personally, I think it's a great thing.

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Going to be dealing with a language
that no one understands.

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I mean, we're dealing with costumes
and rituals no one understands.

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But the essence of what's happening,
that's universally understood.

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This very beautiful and unique story

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that shows kind of like, both worlds.

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I don't think it's a story about
the existence of God, or something.

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It's more about...the right to
have your voice.

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And people like me never really
had that opportunity.

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We never saw ourselves reflected back
in the stories being told

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in popular culture.

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So we didn't really know
how to create our own stories.

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I think this is the first show, ever,
to accurately portray

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the Hasidic community.

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These are real people, and their
experiences are very universal,

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and very relatable.

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When the community watches it,
and there is somebody like me,

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watches it, and sees, this girl
lived exactly like she lives.

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And, she was able to muster
the courage to follow her dreams.

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Maybe this girl can, too.

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When I met Ann and Alexa,
and I became friends with them,

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I realized, if anybody is ever going to
really be able to grasp

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what the story is about,

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and to really execute it in a way

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that is going to have a 
positive cultural impact,

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it's these women.

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After I met Deborah, 
i read her book,

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and I thought it was amazing.

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I mean, I read it in one sitting.
I couldn't put it down.

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And then, she said:

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"Well, why don't you make my book
into a TV show?"

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Anna and I wanted to make a show
for a while,

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in which we could work through
a lot of the topics

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we discuss a lot, especially
about being Jewish in Germany.

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To me, the story is about
a young woman, who

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is searching for herself,

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and she is searching for
her community in the world.

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Esther is a 19 year old girl.

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She was born and raised in
Williamsburg, Brooklyn,

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in the community called Satmar.

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- Don't forget, Esty. 
He speaks first.

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She grows up in a very 
religious neighborhood.

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And, frees herself from an
unhappy arranged marriage,

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and flees to Berlin.

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Her story is unique, and romantic.

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We just felt it was so different,
that somebody would leave

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this very insular community
in Williamsburg, Brooklyn, New York,

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and find their way here,
out of choice.

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From a very young age,
she always felt very different.

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She's always been told
that she is very different,

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because of the fact that
she always has questions within her,

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and she has that 'chutzpah,'
you can say.

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The Satmar Jews are a
Hasidic community,

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originally from the town of
Sate Mar, in Hungary.

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They are mostly descendants
of Holocaust survivors, and

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started by Holocaust survivors,
in New York, after the war.

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This kind of makes them
a little bit different

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than a lot of other
Hasidic communities,

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because they really developed
what they were about, after the war.

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It is founded by people who are
struggling with the most immense trauma.

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For the first generation,

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I would say even for the first
two generations,

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this trauma was a very driving force

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behind the ideological structures
of this community.

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The Satmar community is also special,
in that Yiddish is their native language.

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I think they can be credited,
to some degree,

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with keeping Yiddish alive.

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- But why Berlin?
- Think about it.

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- What? 
- Her crazy mama lives in Berlin!

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It was very important to us,
to make changes in the present-day story,

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from Deborah Feldman's real life.

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Because she is a young woman,
she is a public figure,

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she is a public intellectual,
and we wanted Esther's

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Berlin life to be very different
from real Deborah's Berlin life.

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So, in a sense, the flasbacks
are based on the book,

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but the present-day story
is entirely made up.

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You have to go beyond cliché,

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beyond our projection
into what the life might be.

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in a community like this.

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It was very important to us
to get not just the look and feel

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and costumes, and rituals,
and everything correct, but

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to inhabit the ideas of
these characters' worlds,

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in a way that felt authentic,

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but also heightened,
because it's television.

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I just, in general, feel like,
when you're showing

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different communities,
especially communities on the margins,

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you want to get the details right.

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We knew it was so important
to get people on board,

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not just as actors, but behind
and in front of the camera,

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who are from this community.

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So one of the first people we hired
was Eli Rosen,

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who is an actor, translator,
and kind of specialist,

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when it comes to Yiddish.

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Eli Rosen was like our guide.

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He was our spirit guide.

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He not only translated the scripts,

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he coached the actors in Yiddish,

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he helped us with all the
cultural details,

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and he played the rabbi.

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When I was given the opportunity
to help ensure

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that it was representative,
and that it is authentic,

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um...I, uh...

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jumped at it.

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Directing the scenes
which are set within or

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in the ultra-Orthodox world,

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I would have been lost,
without this advice.

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We had two research trips
to New York,

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with our entire team,
to not just watch and look,

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and touch everything we saw,
but we got access

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to meeting people who are 
still in this community.

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We really tried to offer
our heads of department, as much access.

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These trips, of course,
are like a hunt, for impressions,

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for feeling atmosphere,

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for just watching,
for just taking things in.

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It was a kind of
image-based research.

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We looked around.
We took so many pictures.

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And we tried to inhale this world

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by the visual impressions we got.

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While we were taken around New York,

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we went on a tour of Williamsburg,
by an ex-Satmar woman,

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who had grown up there,
she had her first child there,

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and had been married, and everything.

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She walked us through
a lot of Williamsburg,

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and a lot of traditions within
the exterior buildings.

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Silke was taking lots of notes
for her world,

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and I was taking lots of notes

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for the characters
that I was going to be building.

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We started shooting the past,
like the Williamsburg parts,

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and then, we moved to Berlin.

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So, suddenly, something felt different.

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Also, it's moving from Yiddish to English,
and different outfits and makeup.

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Suddenly, the hair -- and there was
so many different hairs, right?

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There is bald, and there is this,
and there is the wig, and --

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Esty has so many faces.

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I had spoken to Deborah Feldman,
before we started the project,

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about her personal experience
of transitioning

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from Satmar modesty clothing,
to Western clothing.

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She said it took her a long time,
and it was a slow process,

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and she pushed herself 
to experience

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wearing T shirts, 
and showing her arm,

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and showing more flesh.

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She said it did take a long time.

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So, I wanted to show that.

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I wanted to reflect Deborah's experience,
with Esther.

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It was so hard to create, in a way,

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a production that is much like
a period film,

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that plays in the world of today.

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To create the costumes for that
was a very big challenge.

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Much like the sets that played
in two worlds,

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we had costumes that played
in two worlds.

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Plus, a character who has an arc,

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not just in her character,
but in her looks, and her clothes.

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Our production designer
knew which exterior locations

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we were going to be using there,

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and built, made to measure, here,

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to sync with those exteriors.

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We have complicated locations,
because we shot

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most of the New York part,
here in Berlin.

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- Why Germany?

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The other movies that we did before,

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we can [film] through the windows,

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and now, we do everything inside.

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So, maybe, this is a very first 
experience, for me. Yeah.

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Wolfgang is an incredible
cinematographer.

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He has shot some of the most
incredible documentaries.

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He is able to work with natural light.

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He is able to work spontaneously.

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We joke that he is like
the hand held steadicam.

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He is good at combining
different kinds of light,

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which, because we were matching
set interiors with real exteriors,

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the lighting was very delicate,

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and Wolfgang was 
incredible at that.

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When I watch material
in post production,

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I think it is very difficult

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to see what was inside,
and what was outside,

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what was in New York,
and what was shot in Berlin.

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- She's not here?

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Shira Haas is a talent.
What a face.

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I mean, she only needs
to move a part of her face,

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and can make you cry,
or laugh.

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Shira is just an
enormous, enormous actress.

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So talented. So gifted.
Such a hard worker.

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It was pure joy.

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Every day, it was pure joy,
to work with Shira.

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I think that what is really 
beautiful in Esty,

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I think that she 
really really really,

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even though she has been told
all her life that she is different,

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even though she feels like
she is different,

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she always tries very, very hard
to fit in. Really.

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And, she really wants to find
that feeling of belonging and happiness.

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We have, sort of, four main characters.

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I mean, Esther is the main character,

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but the other main characters
are all Satmar characters,

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who are dealing with being
inside and outside at the same time.