In the comic-book world, there tends to be an overblown sense of tradition. Bad habits die hard. There are ways I think the form could work more effectively if we lost the bad habits that were created before we were born.

I check the list. Rubber tubing, gas, saw, gloves, cuffs, razor wire, hatchet, Gladys, and my mitts.

Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."

It's not movies and it's not "fine art." The beauty of a comic is that it's clear, direct communication. My work is getting simpler and more cartoony because I'm much more interested in communication now than in any illustrative value.

What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.

When you have a brush in your hand, inking a beautiful woman is a lot like running your hands over her.

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.