I'm a spoilt brat. I thought I was just going to walk in and make movies. But I'd been my own boss for so long that all of a sudden to be facing a roomful of people who were niggling over every little scene... I just thought I'd go back and draw my comics and have a happy life.

I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.

I'm a spoilt brat. I thought I was just going to walk in and make movies. But I'd been my own boss for so long that all of a sudden to be facing a roomful of people who were niggling over every little scene... I just thought I'd go back and draw my comics and have a happy life.

Of course we're Criminals

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."

Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.

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