It's the flip side of illegal success. This man [Pablo Escobar ] turned a small-time drug thing into a large industry. An international, successful industry. And he almost took a country, Columbia, he took it almost hostage, took over it. It was incredible.

I did 40 voices for Chris Wedge, the director of the first film, before coming up with the version we used. He was hard to please, I don't know why. I gave him really slow talking voices. then I thought perhaps Sid could be an Indian sounding sloth. To find out more about my character, I watched footage of sloths. I discovered that the food they store in their pouches rots and ferments and half the time they're drunk.

Most of the great directors I've worked with - De Palma, Spike Lee - like rehearsals.

[Brad Furman] wants to try stuff, he's willing to try stuff. And he wants electricity on the camera. And that's what I want, I want electricity whenever I'm performing.

Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?

Don't confuse the beginning of my world with the breakup of yours.

I would be jokesmithing. I had files with tons of disses that I would try to write as I was on the train going to school.