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.

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.

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.

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.

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'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".

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