An old man dies. A young woman lives. A fair trade.

In a way, 'Sin City''s designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.

The noir hero is a knight in blood caked armor. He's dirty and he does his best to deny the fact that he's a hero the whole time.

It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.

When you got a condition, it's bad to forget your medicine.

My feeling is that the hero has now been defined by phrases like the odious one that we were all raised with - crimes does not pay. Of course it pays, you schmuck. That's not why we don't do it. We don't do it because it is wrong.

3,000 of my neighbors were murdered. My country was, utterly unprovoked, savagely attacked. I wish all those responsible for the atrocity of 9/11 to burn in Hell.