You have to be ahead of your game, and in industry that is a different condition than in art. If you make things in an intelligent way and then they are replicated, that's a beautiful thing. If you make things in a bad way and they are replicated, the wrong is multiplied.

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.

I'm involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It's Russian dollism, because they all interrelate: one goes into the other.

Modern design becomes the eye catcher because it's out of context, it is something newborn and fresh, something people have never seen before. I mean, that in itself is the way we should sort of stimulate the senses of society, this urban condition.

Live out of your imagination, not your history.

In my own life, I share my home with works by artists like Elizabeth Murray, Martin Puryear, Jackie Windsor and so many others, whose creativity is clear and fresh and compelling; the works break through the usual, and they inspire creativity; they inspire responses and understanding.

I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.

I still don't know how to jump-start a car, even though it's been told to me a million times. But I do love thinking about how creativity works.