“I developed an appreciation for German and French and Asian cinema. And I became very much a cinephile—at the same time I was becoming very good at what I was doing as an architect in Hollywood, on big projects, doing these photorealistic things with computers. At first it was tremendously exciting, because they pay you a lot of money, and the people I worked with were wonderful. But you can never make a deal with the devil like that and not have to pay something in return. You’re devoting your life to these final products that are just shit. I started fearing for my soul. I thought, “I’m on the road to becoming a production designer on these gigantic films, and is that what I want to do with my life?” When that thought crept in, it was over and I knew it. My conscience got in the way.”