Bryan Cranston is generous, he's funny. When we did a wedding scene [in The Infiltrator ], at the end of the movie with a big set piece, he put the veil off the bride, he put it on, he pretended like we were getting married, he's just a goof.

I don't know if tennis players feel like that but when you have a great opponent - although I didn't feel like he [ Ben Mendelsohn ] was an opponent - you just know your game is going to jack up and it's just going to raise the bar. I couldn't wait for that elevation.

Pablo Escobar is one of the great stories of all time. It's a bizarre, dark version of success.

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.

It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.

When I started performing I was like, "Holy hell, how am I going to survive this?" I was giving it my all in 15 minutes but now I had to do it for two hours.

It's all about respect; he's looking for respect from his buddies. In the last one he just wanted to hang out, to be part of the group, but this time he wants more from his friends. And without giving the story away, he finally gets something that he has been looking for when the mini sloths kidnap him and take him to their tribal area. He gets to be the Fire King and they worship him and there is an amazing scene with a "call and response" sequence in the style of Cab Callow [the legendary American jazz singer and band leader] between him and his audience.