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Once I was in the city, I really enjoyed it. Just to experience things. There was so much new stuff.

I always sort of swooned at the sight of the classic barn structures in central and northern Minnesota, where everything seemed rustic and weathered and made to age gracefully.

I lived five years in the Midwest, and I loved it. The people were so nice. The people were so open.

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine. We do a lot of stuff on the green screen as well, but when we're outside in the streets, it's all there. It's amazing! The creators have just been incredible.

It was such an idyllic time when I grew up in Hong Kong. It was a British colony and very much geared towards buying the best of Britain. My childhood does have a huge influence on how we design. There must be a little bit of that nostalgia - childhood is so special.

I grew up the son of a director and grew up on sets myself, so I was the kid getting dragged around from this set to that set and I loved it. There's something about it which is really interesting.

I really enjoyed the sort of real crazy, eclectic layering stuff and how it all worked together. I could tell it was some of it was derivative of something. I could tell that certain things were being looped around and I just really enjoyed the way that it all came together.

I really wanted a wonderful, traditional home for my kid.

I found that photography was a great way of relaxing on the set.

Knowing that we were doing good work and the stories were good. They were original and charming. They weren't particularly violent or sexy or any of that. They were just unique and that had a good feel to it.