You gotta be careful and just learn from your mistakes.

'Mortal Kombat' was an ill game. I would always be either Reptile or Scorpion. Those dudes were ill. We used to stay up all night playing.

People of all races need to come together to control our government and run a giant comb through it so we can see the filth that comes out.

The NYPD is just a branch of corruption connected to a giant, corrupt tree called the United States government.

We used to cut out of school and go to Coney Island to record songs almost every day.

I just remember the feeling of being dropped from Island and having our hearts broken. Because we were given a chance to put out an album to the world. We got the chance for people to know who we were. We wanted to make our dreams come true and do hip-hop for a living, but we didn't do it right.

All I do is music; that's my sport.

With Mobb Deep, we have to agree on things. We have to agree that we want to use that beat or agree on the type of song we want to do.

I'm a fan of hip-hop. I'm a fan of rap, so anything new that's happening, I'm hip to it.

When you are young and rebellious, you don't want to be in the house. You want to be on the block.

When I was locked up, I went through a big personal change with my attitude and spiritual, everything. I went through some major changes locked up.

In the era we came up in, you had to have your own thing.

Don't get 'Return of The Mac' confused as a solo album. That was just a mixtape.

A sickle-cell attack would creep up slowly in my ankles, legs, arms, back, stomach, and chest. Sometimes my lips and tongue turned numb, and I knew I was going into a crisis.

Growing up in bad neighborhoods, you see and experience a lot.

Extreme pain to extreme pleasure has been the story of my entire life.

Premier came into the picture when were starting to make our own beats and all that.

In my lyrics, I used to always state two years ahead. I did that to make it seem like we were ahead of our time - a time capsule almost. It had never been done before.

I was real serious when it came to rapping. I still do, but even more so when I was real young.

I'm always vocal about people being unique and different in hip-hop.

You got to treat Mobb Deep different because our fan base is different. Our fan base is in the 'hood across the world.

'Cobra Clutch' was to let the world know we ain't going nowhere. We got the game in the cobra clutch.

I don't want fans anymore, because the definition of a fan is a fanatic. The people who buy my product and ride with me are my supporters, not fanatics.

My family had a lot to do with 'My Infamous Life.' They were the inspiration behind me starting to write. I had an interesting family life dating way back, and they did a lot in their lifetime.

Actually doing a song, going to the studio, and just getting out on paper your anger makes you feel a little better sometimes.

Nas is like King Queensbridge: he's the man out there.

To me, I got a bunch of haters. Mobb Deep - and Prodigy, speaking for myself - I got a bunch of haters.

Just having conversations with God, begging God to make the pain go away, and then the pain wouldn't go away. So I'm like 'Who the hell am I talking to? God is not responding.'

Going to jail is beyond what anyone thinks it is.

We'll never change the fact that we are hardcore hip-hop and we make rebellious hip-hop music, and we're going to keep doing that and progress with our production, progress with our lyrical styles, be creative, and just have fun with it.

You can never go back to a time and try to recreate that sound, because that time is done.

Anything that Havoc or I do is always going to point back to Mobb Deep.

You have people there from all walks of life: people who made mistakes and have to deal with the consequences, mothers and fathers. You wouldn't expect them to be behind bars.

That's what 'Hell On Earth' was about: we felt that we were living in hell.

I think the sound of 'The Infamous' came naturally from our lifestyle and some of the criminal things we were doing. We always rap about what we're living, and to put a beat to lyrics like those is hard.

If you look at my rap sheet, it's very long.

I couldn't afford to get sick in prison. My sickle cell is no joke, so I couldn't eat poorly or not exercise. And everything in jail is designed to do the exact opposite.

I was barely 17 when our father decided to part ways with my mother.

There is a host of directors - Sujoy Ghosh, Neeraj Pandey, Ashutosh Gowariker, Madhur Bhandarkar, Mani Ratnam and so on - who make some great cinema. I would like to work with them all.

As children we had traveled only in cars and led a lavish lifestyle. After father and we parted ways, we had little money to afford even petrol; I used to travel to the Tollygunge studios in the south of the city from our Dumdum home in the north by bus. I would do any role that came my way: hero's friend, or brother, or son, just about anything.

Cinematically, anything like 'Khawto' in Bengali cinema hasn't happened. Yes, you get such films in Hollywood, a few in Bombay. In Bengali literature, you get such stories in the works of Samaresh Basu and Buddhadeb Guha.

Everyone has their own way of telling stories.

Everywhere I go today, people talk about Bengali cinema. I completely refuse to accept that Bengali filmmakers are not making good films.

With excessive digitisation, now, everyone is making films, which is good, but the makers think that they will quickly make films in digital and bag satellite rights but television channels buy satellite rights of notable films only. If we made fewer films a year, percentage of hits would be better.

When I started my career, I was faced with a challenge of making my own identity.

I am open to do a Telugu, Tamil or Malayali movie. If I get a good script and good character, I will surely do it.

I'm comfortable in my life.

There were times when 22 of my films would release in a year.

Ask anyone in the industry if Bumbada is accessible. A technical hand can call me at 2 A.M. and I will be there to help him.

Technology is a very important part of cinema.