A Quote by Kehinde Wiley
I grew up in South Central Los Angeles in the '80s, back when it just wasn't a cool scene. But my mother had the foresight to look for a number of projects that would keep us away from the streets.
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I grew up in South Central Los Angeles, where people are in cars.
I'm not actually from Compton - I'm from South Central Los Angeles, and my father still lives in the same house I grew up in, so I'm there all the time.
If you grow up in the South Bronx today or in south-central Los Angeles or Pittsburgh or Philadelphia, you quickly come to understand that you have been set apart and that there's no will in this society to bring you back into the mainstream.
I would love to dive into an indie film based on the streets of East Los Angeles where I grew up. If that doesn't come my way soon, I think I just might have to write it myself.
At heart, I'm a dude from South Central Los Angeles. We roll the way we roll because we had survival tactics; we had to learn how to adapt. That's just me.
My mother was a librarian, and she worked at the Black Resource Center in South Central Los Angeles and would call me to tell me stories that she read about that were interesting to her.
Once every hundred years, the Los Angeles smog rolls away for a single night, leaving the air as clean as interstellar space. That way the gods can see if Los Angeles is still there. If it is, they roll the smog back so they won't have to look at it.
I've actually done three pilots for Disney. I met with the network when I was 16 years old and had just started acting. I would fly to Los Angeles to film pilots, then fly back to Dallas, where I grew up.
There is no pedestrian culture [in South Central Los Angeles].
When I was coming up as a kid, there were programs that kept me out of trouble and on the straight and narrow in South Central Los Angeles, and I always felt that when I got to a stage where I could provide similar opportunities to kids then I would do that.
I started in dance classes when I was, like, seven years old. And the arts in general, it kept me not only off the street, I grew up in South Central Los Angeles, so it kept my mind focused. It kept me passionate about something. So I wasn't easily distracted.
I grew up in the 80s in England: we'd wake up each morning and look out the window to see if the government had finally put Daleks on the streets.
I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
The studio rented a house for my wife in Los Angeles under a phony name to keep reporters away. Whenever I wanted to visit her and my children, I would have to sneak in the back door after dark.
I had come from Los Angeles - I had been there a partner of Gruen Associates, a large Los Angeles firm - and when the possibility of becoming a dean at Yale came, it was a very appropriate moment in my life. I was interested in a number of issues that I could not pursue while in a firm like Gruen's.
That's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.
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