I'm 36, and sometimes I'm working so hard I don't realize how much I've gotten done.

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.

Budget affects everything.

If the person or artist doesn't touch it, and if the camera stays relatively far away from it, it doesn't really have to be real.

My approach is to 100 percent get the concept and the visual right. Get the client to love the space. Once they love the space, everything's possible.

There was a period there where I was like, "No, no, no, this is crazy. I don't want to take any more drawing classes and talk about what looks best. I want to study math and psychology and physics and all these nerdy things with computers." That was fun and great, but that didn't work out. At the end of high school, I was like, "Uhh, what's easier? Drawing is easier, I'll do that".

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.