I never went to school for that. In high school we had photography, which was great. That was another moment of discovery. I had a great teacher - I can't even remember her name now. I ended up going to boarding school for my last high school years and they had a dark room there. Of course there was curfew; you were supposed to be in bed at a certain time. But I would sneak out and sneak into the dark room and work all night.

I always wanted to live in L.A. The other thing that always inspired me was movies; that's why I'm here. I always wanted to be a part of the movie business and make movies. That's why I went to AFI grad school for filmmaking.

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.

The Canon AE1 - a fully manual camera. [My mother] had a 50mm, which is a standard lens, and then I got a 28mm. Then I started a little punk magazine, a zine, when I was 14 or 15 years old. I was shooting my friends skateboarding and it was the beginning of the Macintosh. We wouldn't do layouts on the computer; we would pick the font and then type up a paragraph and then print it out and cut it up and put it in a little mock-up and Xerox it.

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.

It 2001 when we started. But prior to that, I had made this website called sundancepics.com, where me and this other photographer, Randall Michelson, could sell our images from Sundance online and it was successful. Steve Granitz, who's my main partner at WireImage, we were already working together, and I was like, "Look dude, this is it. We can do this."

Over the years, she [my mother] always encouraged me in the arts. She actually worked at an art museum when we were kids. I took classes there. She was the one that, when we'd go to the store and I would have a pack of eight pastels, she'd say, "No, get the 24-pack." She was always encouraging me to get the best materials, which was really awesome.