But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.

I was just school class clown and that was it. Someday I'll get a job as a cab driver or whatever.

The message is one of the beautiful things about the film. And I think part of the appeal is simply that they are prehistoric creatures, they are no longer around and that makes them magical and makes us feel quite emotional, because we know that those creatures did not survive in the long run, so there's poignancy in their fight for survival.

It was at a performance art space that's no longer around, Gusto House... All of these great performers from all over the country lived on the Lower East Side, and they would take somebody's living room that opened right onto the street, open the door and charge tickets and put up chairs.

I like drama. I love being in a drama where I get to be the funny guy. That's what I really love the most.

I was working at Kentucky Fried Chicken when my math teacher said, "You're failing in school, you're messing up, why don't you just try this?" I said, "Alright, let me try it," and I started going to acting classes and I loved it. I thought, "I may not make it but I love doing it."

I think Brad [Furman] crafted an amazing film [The Infiltrator]. It's so complex, it's incredibly thrilling, incredibly touching and it's what people have been trying to do for years in Hollywood, is to try to capture what it's like to be undercover, what is that duality of life? And I think that Brad really caught that.