I became a set designer for opera.

I worked for UFA as a set designer, you know.

I wanted to be a set designer when I was young.

We've had the same set designer and the same crew in many cases since 1972.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

If you were to say to me that I couldn't paint, I would write. If I couldn't write, I would be a set designer. As long as I'm creating something, I'm happy.

I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set designer.

Courtrooms contain every symbol of authority that a set designer could imagine. Everyone stands up when you come in. You wear a costume identifying you as, if not quite divine, someone special.

Some stuntmen become actors, but Hollywood is a caste-oriented society. Most of the time you just don't have the opportunity to get out of your field if you're a grip, an electrician, stuntman, set designer, director or actor.

Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.

I loved putting on stories as plays when I was just six. I was the director, the actress and the set designer; I cast my girlfriends in parts, and I suggested to the local kindergarten teachers that we do free performances for the children.

There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.

I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.

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