It was a fortunate moment in history that I happened to be in. There was a confluence of the internet and all this other stuff that I was able to capitalize on.

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.

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.

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."

We were little children, four or five years old, but they were all around the house and they made us look epic, like we were part of some story being told. My mom would have this woman come to our house and take photos of us. She did a photo book of us as well when I was one. I still have it.

So I tried to get my shot with a 50mm and I did it - this is when we're shooting film, not digital. The guy that hired me looked through the pictures and was like, "Oh, this is pretty good. You did a good job." And I was like, "Yeah, I'm sorry. I only had a 50mm. My girlfriend rented the wrong lens..." and he stopped looking at the pictures and he looked up at me and he said, "You shot this with a 50mm? You're hired."

That was my experience with everybody in the book. That was what was so cool. It's just an excuse to hang out with people. It's not for a movie; it's not for a magazine. No one's here telling us what to do. We're at my house shooting. I just get to go, "What do you want to do today?" We're only there because we want to be there because of each other. There's no other reason.