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."

Hell's waking up every goddamn day and not even knowing why you're here.

I take away his weapon. Both of them.

My Sin City heroes are knights in dirty, blood-caked armor. They bring justice to a world that gives them no medals, no praise, no reward. That world, that city, often kills them for their brave service.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a 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.

I'm not going to complain about the fact that people are paying attention to my work. I suppose that wouldn't be fair.