Of course we're Criminals

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.

Gotham City. Clean shafts of concrete and snowy rooftops. The work of men who died generations ago. From here, it looks like an achievement. From here, you can't see the enemy.

Deadly little Miho. She won't let you feel a thing unless she wants you to. She twists the blade. He feels it.

I thought Daredevil was kind of cool because he couldn't do anything. I mean, he's blind. It wasn't that he could fly. His major power was an impediment. So I was intrigued. When I took over he was kind of like Spider-Man-lite, but I was able to project a lot of my Catholic imagery onto it. And I'd always wanted to do a crime comic.

In the world of comic books, "troublemaker" means someone who has some sense of dignity.

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."