I was doing a lot of web design at the time. And anybody that has an agent thinks, "Why do I need an agent?" Maybe it's a little different as an actor - of course you need an agent - but any kind of agency that's selling something for you, you think, "Why can't I sell this myself? It doesn't make sense."

My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.

A lot of people have done that over the years. Many of the agencies today were started by photographers. It's a normal progression. It wasn't some crazy idea, it was just, "Can we start our own agency? Can we do this?"

Well, I talk about one moment in the book, but I don't know if that's my moment of discovery. It was a moment. In the book, I talk about how I started shooting, how I became a photographer.

Only sometimes I try to think about it in context. When I think about the context of, "Oh, I'm this or that," in this society, that's one of the terms.

I always knew I was going to be an artist. It was a done deal right from when I was very little. It sounds like the dumbest thing ever, but my mom used to doodle when she was on the telephone and she made these - they weren't just little scribbles - these little shapes and forms. I don't know why she did it. I've never seen her do it again.

I ended up meeting this guy Stefan Simchowitz, who produced Requiem for a Dream and also went to AFI. I randomly met him in Cannes. By September of 2000, we had made a deal with this company that he was working with. They merged with us and in January of 2001, we opened WireImage. It was pretty crazy because I only started shooting celebrity stuff in 1998 - literally two and a half years later, I'm opening this company.