Bryan Cranston has got such an incredible light touch. He comes in egoless, but with bold opinions, and he wants to play. He wants to play. And that's what I've seen in great actors all my life and what I've always tried to nurture and keep in myself is that joy of playing.

My mom [comes] to see my shows because she's so proud, but I'm talking about losing my virginity, my ex-wife and our sexual problems, and she's sitting in the front row smiling. I just go, "Mom, you can't sit in the front row, you can't smile. You have to go way in the back and dress in black. If I see you it's like you're breaking in when I'm having sex with my wife. It's just wrong."

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?

I did an HBO movie called Undefeated that I directed. It was too hard.

I'm hoping my play opens up conversations, I hope it makes people question textbooks, I hope it makes #OscarsSoWhite and #HollywoodSoWhite question things. I hope my play sparks conversation between Latin kids and Latin parents and people start doing their own due diligence as well, I think it's everyone's responsibility.

Teachers are everything. I mean, you're a poor kid from the ghetto, your parents are busy working 24/7, working like a Mexican.

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.