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".

You take for granted the details that make something look real. It can still look fabulous, but if you add a light switch, a vent, or the notion of air conditioning, it can look real.

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.

Budget affects everything.

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.

The word "budget" is the idea-killer. It slaughters any idea.

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.