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.

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.

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

Once we have a nice, conceptual sketch and rendering and design approved, then it's really about pinpointing what's functional and what's not, because functional equals expensive.

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".

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.