It's very hard to be a kid, especially in a predominantly white school or white town where other people want to police your body and hair.
My grandfather, Arthur Baskerville, he played and still plays a little bit piano and trombone, and so when I was a kid, I always heard jazz around the house, but I also went to his gigs, whether it be a Saturday brunch in my hometown Columbus, Ohio. We'd go and hear him play with some of the local musicians.
When I was younger, I'd always forget stuff. I think there was probably 4-5 times where we'd drive 30 minutes to a town for the baseball tournament, and all of a sudden, I'd get to the field and look in my bag, and I didn't have my cleats. So my dad had to race all the way home to get my cleats and get back before the game started so I could play.
I moved back to Idaho when I was 6 or 7 and then lived in a little town called Twin Falls and then moved to Boise. So quite different from L.A. I'd been to Disneyland a couple of times, and that was the closest I'd been to L.A.
I grew up all over Idaho - I was born in Emmett, a very small town.
My introduction to the Madonna Inn came as a young boy when we would take summer vacations to a nearby town. My dad would take us into their gift shop bathroom, which was a huge waterfall that functioned as the men's urinal. So as a kid, this was the most amazing thing I had ever seen.
I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
I'm from outside Philadelphia, a town called Wayne, which is, like, 25 minutes northwest.
I grew up in a small Southern town, kind of a counterculture to a small Southern mentality.
We were from downtown, so we were rapping in Danceteria, in these white downtown clubs, really. Nobody downtown was rapping. Nobody we knew was rapping. So we were like, 'We should do it.' We weren't making fun of it; we loved it, and we wanted to be part of it.
