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 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.

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 don't even know of a room that doesn't have a flat-screen TV in it. These are things that just come in environments these days. And if you were going to walk into a space, where did you come from? Was there a bathroom around the corner? These are things that are authentic, and that's what makes successful television. It's not pre-produced garbage. It's believability and connection. The environment has to tell that story.

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

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.

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.