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

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

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.

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.

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.

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.

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".