I can tell you squat about Islam. I don’t know anything about it. But I know a goddamn lot about al Qaeda and I want them all to burn in hell.

She doesn't quite chop his head off. She makes a Pez dispenser out of him.

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."

I don't own an ounce of the work I've ever done on 'Batman,' and I still work on 'Batman.' I love the character, I think it's a lot of fun, and it's kind of fun to be in that ballpark every once in a while, where you're seeing a different crowd.

You can't have virtue without sin. What I'm after is having my characters' virtues defined by how they operate in a very sinful environment. That's how you test people.

We live in the shadow of crime with the unspoken understanding that we are victims.. of fear, of violence, of social impotence. A man has risen to show us that the power is, ans always has been, in our hands. We are under siege. He's showing us that we can resist.

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.