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.

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 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".

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 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.

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.