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.

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.

Just to give the audience a breath of fresh air is important.

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.

Producers are looking to me to concept full worlds for subjects to compete, play a game show in, win an award, blah blah blah.

These big Silicon Valley companies that are popping up are projecting growth skyrocketing in a few years. So they need a space they can grow into. Not so much in New York. Super conservative, super small.

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".