is, nor did he think he is "even half-Jewish". He did, however, note that "there's something about David [Duchovny] that could be Jewish or that has a Jewish sensibility." Filming and music The scene featuring the burning book was difficult to film, as the pyrotechnics refused to cooperate. David Duchovny and Gillian Anderson ended up spending far more production time than originally allotted to shoot the scene. Gastown, Vancouver—described as "the only area in Vancouver that even remotely resembles residential Queens"—stood in for many of the exterior shots. Shots at the Weiss' apartment were filmed at the Winter's Hotel. Originally, the production team was going to remove the hotel's neon sign, but director Manners, instead, decided to "move the camera another five feet", thereby avoiding "prohibitive" expenses. None of the synagogues in the Greater Vancouver area were willing to let the production crew use their space, so the scenes in the synagogue were actually filmed at Shaughnessy Heights United Church. The church was chosen because its "gothic interior" and "stained glass windows ... resembled many New York synagogues". The church was booked for two weeks so that the entire interior could be redecorated to look like a legitimate Jewish temple. This included completely redesigning the pews, carpet, and light fixtures, as well as crafting a Jewish altar. During the construction of the altar, a Hebrew translation of the Ten Commandments was needed, but the series' on-set Hebrew advisor was not available. Consequently, the art staff, to quote art director Gary Allen, "ended up faking it [i.e. the text]." Series composer Mark Snow heavily featured "clarinet, violin, and cello solos" in the episode's score and readily admits to "borrow[ing]" J.S. Bach's Fugue in G minor, "Little", BWV 578 piece. He noted, "The aim was to wind up somewhere between a Klezmer band and Schindler's List." Themes Gordon said that love is the central conceit of the episode. Although, in the myth of the Golem, the creature is soulless, Gordon took "some liberties" with the legend. He wanted "Kaddish" to "literally be about resurrection". Ariel creates an imperfect reflection of her husband by crafting the Golem from mud. In essence, she is trying to play God, a role that Gordon later likened to Victor Frankenstein, the scientist from Mary Shelley's famous novel Frankenstein; or, The Modern Prometheus (1823). However, Ariel and Frankenstein differ in the fact that Ariel's flaw was related to