I'm being totally honest, but I really do get chills every time I see something that I designed, painted on the biggest stage in Universal, standing proud there among all the other stages. I think, "That is so amazing that I did this".

In New York, it's a little bit more formal, a little bit more decorated, and there's a real appreciation for traditional style. Out here, it's casual, fresh, new, and almost humble.

I don't even know of a room that doesn't have a flat-screen TV in it. These are things that just come in environments these days. And if you were going to walk into a space, where did you come from? Was there a bathroom around the corner? These are things that are authentic, and that's what makes successful television. It's not pre-produced garbage. It's believability and connection. The environment has to tell that story.

The word "budget" is the idea-killer. It slaughters any idea.

I treat every show, every production, like its own individual human organism that's grown up in a certain way, and they all have crazy habits and do different things.

I was a child of a single mother/art teacher, and a father who was an architect, so I've always been around the combination of art, fine art, and architecture my entire life.

Once we have a nice, conceptual sketch and rendering and design approved, then it's really about pinpointing what's functional and what's not, because functional equals expensive.