Angelina Jolie, 2003. There was always something about Angelina that people grabbed onto—people were mesmerized. The first time she really hit my radar was that movie with Nicolas Cage—Gone in 60 Seconds. Vintage cars, hot rods. That kind of thing always gets my attention. And I’d worked with Nic many times, but here comes this wild child—vials of blood around her neck, sort of gothic, sort of hippie, and just a beautiful and free woman. It was magnetic. People couldn’t stop talking about her.Fast forward a bit, and I get hired to shoot her in Montreal for the movie Taking Lives. By then there was already this shift—she was more serious, more grown up. She had adopted her first child and was becoming a real citizen of the world. She had her little boy Max with her on set. I asked if I could shoot some pictures of the two of them together. She decided to trust me. She was so protective, especially of him. The press hadn’t always been kind, and there was a lot of it. But she let me in. I made them into prints for her and got them to her personally. It felt important.A few years later and I’m shooting Mr. & Mrs. Smith. Whatever chemistry people thought there was...it was there. It was obvious—whatever was happening between her and Brad was real. You could feel the heat. And then the whole thing exploded in the tabloids and took on a life of its own.But what has stayed with me was watching her evolve. From the wild child reputation that I witnessed from afar, to this elegant, powerful, philanthropic person of the world. And I intersected with her throughout these different stages of life, on multiple movie sets, with her first child, then with her partner, all throughout the press—and she remained this beautiful person. I’ve always had so much respect for her.
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