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.

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

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'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".

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.

I was applying to the art school, but there was a checklist that said I had to do either production design or stage management or acting. I thought, "I don't want to be an actor, but I know production and stage management take acting classes" - this is literally my internal monologue. I was like, "Designers don't have to take acting classes. Cool. I'll check that box".

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".