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It's through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don't have to know everything, the second you start.

The hardest part is developing the idea, and that can take years.

Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.

In two days, it's hard to to get the quality you would normally want for a design project.

One of the experts bought his first piece at the age of four, so they did start very young, most of them. They did it out of genuine interest but today's kids are much more materialistic and there's a danger, I suppose, that they might just be out to make dosh.

Some of the kimonos took as long as four to five months to make, with all the layers that go into it.

I was at first but I mean I thought at first that I wanted a little bit of that in there but the reasoning behind what they cut and what they kept really makes sense and it really played for me when I saw it yesterday, it all worked and was understood.

For the most part things never get built the way they were drawn.

Great sculptors and artists spend countless hours perfecting their talents. They don't pick up a chisel or a brush and palette, expecting immediate perfection. They understand that they will make many errors as they learn, but they start with the basics, the key fundamentals first.

When you're just able to distill it down to the idea and the feeling that a character is experiencing in a scene, it can become very, very razor sharp and really clean and really efficient and simple. And sometimes it takes twenty-five years to learn how to be simple.