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I liked the whole process of creating on set. It's almost like creating magic. The work that the camera guys are doing at the same time, the lighting... all of the people working in their departments to make one thing.

Having spent a lot of time on sets, I was really interested in the overall storytelling aspect of shows and projects.

Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'

When you're working on a huge, elaborate set that took months to create, and you're surrounded by hundreds of extras, you better remember your lines and know what you're doing in a scene!

A story is how we construct our experiences.

Pace, rhythm and timing. Pace, rhythm and timing is what it's about. The content's got to be great, but then it's got to be delivered. It's a tricky thing to do, and it takes a lot of work.

The most important thing in games isn't the designer's narrative, but the story the player creates through his experiences.

If you are having fun on the set, you are not getting things done.

Usually, as designers, you try to create meaning.

When I write the set, I try to create something that will not only be interesting for the audience, but will have a flow for the band, too, so we don't get boring.