The fundament of a superhero is the guy in tights saving innocent people from bad things. It's amazing how infrequently that seems to happen in superhero comics these days.

"Comic book" has come to mean a specific genre, not a story form, in people's minds. So someone will call Die Hard "a comic-book movie," when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.

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 moved to New York and was told, "Go back home. We don't need you. Go pump gas. You're from Vermont. We've got no use for you. You're not drawing guys in tights." So, I learned how to draw guys in tights, and I put them in as many crime situations as I could.

Mighty cultures never - are almost never conquered. They crumble from within. And frankly, I think that a lot of Americans are acting like spoiled brats because everything that isn't working out perfectly every time.

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.

I guess in my own egotistical way I like to create my own library of Batman books that doesn't run contrary to a single thing that has been published before, but it also stands on its own.