To me, Los Angeles and California and executive power are about big, open warehouse buildings. Tech companies are buying oversized buildings, because they project growth immediately.

If you can give your walls history, it supports the action that's happening in front of them.

I was a gay kid in high school in the late '90s, and I was in theater club. I was never a thespian. I was much more of a lighting guy or a backstage guy. Because I wanted to do something easy for the rest of my life, I thought, "Maybe I'll go and apply to colleges that specialize in theater set design. I'll do that. That's what I want to do". With theater, really, I'd be around the gays.

If you look around anywhere, layers are an important part of, not just the story and the concept, but the world you're in. If you just turn around and look at your office door, there's a door, and there's something behind it.

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.

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".

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.