Top 23 Quotes & Sayings by Jeff Vespa

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.

My mom had bought this camera to take classes herself and I remember working with her on it, understanding how the stop-motion [worked], having a high shutter speed and things like that. Long before I picked it up myself, I remember being on a slide at a country club going into the water and wanting my mother to put in on a high shutter speed so she could catch me on the slide without it being blurred. I remember having fun with her: "Let me go on the slide and you'll catch me in motion!" Those are some of the little moments in my artistic making.

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."

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.

My mom had a Canon AE1 camera and I read the manual and that's basically how I became a photographer. I was in the Baltimore punk scene. I knew it was a special time, so I went out and documented that whole era. I was the only person to really do it of my friends in real black and white, beautiful portraits.

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.

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.

There were just moments of the punk scene and I realized that I had to capture it. There was also this photographer in our preschool - I went to a Montessori school in Baltimore, Maryland - and they had this photographer come and take all these incredible photographs. They looked like they were from Life magazine.

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.

Yeah, it's just a lame term. I wish it was "movie star." That's a much better term than celebrity.

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 was fooling around one day and looking at Yahoo! Jobs. I typed in "photo" and, of course, what comes up is "One hour photo lab" or "Be a photographer in Disneyland" or jobs that no one really wants as a photographer. I saw, by chance, this ad that said, "Wanted: Photographer for premieres and Hollywood events" and I thought, "This can not be real. This is ridiculous. No one advertizes this!" I was really suspect about it.

But when I was a kid, I would look at the paper next to the phone and I would think to myself, "I want to do that." So I started doing that. [doodling]

Learning that aesthetic as a kid - seeing those photos - made me think that that's what photos are supposed to look like. I never understood snapshots. I was looking at them like, "This is horrible; that's not what a picture is supposed to look like." I was taught by these photos. So when I picked up the camera, though I had never done it before, I kind of already knew what I was doing.

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.

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.

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.

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.

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."

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.

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?"

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."

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.