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Sandy ( cont .): a script , I rely on all of the literature that I ’ ve read to form opinions and visions of how something should be . From there , I start thinking about the practical considerations of how an actor is going to move through these spaces and tell the story . I think the way we approach our projects is different , but we ’ re able to work well together because we see things from different perspectives .
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David : It is a good balance . Sandy has a much more formal education with art history , and I have an informal education through my professional experiences . When I ’ m working with other people on projects besides Sandy , I find that many of the people that I hire that can do set design in the best way seem to be registered architects . I ’ m not a trained architect , but I ’ ve been approached by a lot of architects that want to try to break into the movie business . Some of the most amazing sets that I ’ ve worked on have been made with the help of people that know how to design buildings . Beyond the visual medium , it ’ s also very important to be able to write and effectively communicate . Sandy is very good with writing , and we ’ re both good at working with groups of people and communicating with them . Films require big groups of people to come together to pull things off . Like you said , Joshua , you have to solve problems for the director , writers , and producers , and you have to do it in a very short period of time . Everything has to happen very quickly , which requires everyone who works on a project to be very careful and considerate . I try to hire overqualified people , because when you ’ re working on a film project , every single position is vitally important . Regardless of the position , I go out of my way to hire people that contribute ideas and come up with effective solutions .
Sherman : You ’ ve both worked with many talented directors . Let ’ s discuss Quentin Tarantino . How did you first meet Quentin , and what was that experience like ?
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