"Pacino in Scarface. That’s another one, just because it was where I was from. I am half Cuban American. That wasn’t the story necessarily of Cuban Americans but I know a lot of the guys that I grew up with and a lot of the people I grew up with felt that way. Being first generation — you know people had a lot to prove. And God, I feel that movie is so sleek, and very much what Miami is. It was really cool. It was a really interesting time when the Mariel boatlift happened and Castro emptying out his prisons and insane asylums. It was a crazy time. I think crime went up by 200 percent in Miami. I mean, literally we had killers on the street and it was a f—ing nutty time. I remember somebody saying that it’s funny that I ended up doing comedy, and I was so into all these other super hardcore dramatic films. But I just remember Al Pacino doing an interview once and him saying that he was — while he was doing that — he kinda really dropped into the role and became this really kind of vicious guy to play Tony Montana. And he said he was coming out of his house one day, and I guess some guy’s doberman had gotten loose and he was kind of “in it” on his way to work — and this doberman came up to him and he realized the doberman was going to attack. And he just kind of planted himself — you know, all Tony Montana — and just f—ing was like “Hey!” And the dog kinda turned around and whimpered and ran away [laughing]. And he was like, “Me, Al Pacino — I would have freaked out but I was just in this thing and I was really in — and this dog comes in… ‘This guy’s f—ing danger, you know? Stay away.'”"

"The first song I heard of theirs was called 'Funky' and the B-side of this was a song called 'Mentally Mad'. I was just listening to a mix show of theirs one night and they played all this new shit. I was like: 'Who the fuck is this?' I needed to know everything about this group from there; I knew this shit was ill. I discovered that they were from the Bronx and the more I listened, the more I realised that their beats were hard as fuck. I started reaching around and I found the 12"" single before the album came out and a few other songs. When the album eventually came out I was just mesmerised, especially with Kool Keith and his high-pitched rhymes talking about all this space-age, futuristic shit. It influenced me massively in that it was just this mad, unorthodox music and when I started making music, mine was very unorthodox as well. They were talking spaceship shit, like it was from another planet and they were 'Hardcore Bronx' fools too. The beats were banging with a big old bass and it just felt like some next level shit. It was hard as fuck, street shit set against these incredible lyrics – you just did not hear people talking like that. Kool Keith would rhyme but he'd also do this shit where nothing at all rhymed (like 'Mentally Mad') and that was very different at the time. They came just before Doctor Octagon and I never got into them or none of that as it felt watered down. Ultramagnetic MC's were just pure hood shit and they stood out because of it. Critical Beatdown was just incredible with the music and the beats they used. There's something too about having the contrast of the deep voice and the high pitched voice that's kind of like B-Real or Chuck D and Flava Flav. When one goes away, the other comes in and they switch again: when they come back, it's always more powerful too. They created a really dynamic sound."