In a way, 'Sin City''s designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.

The larger-than-life thing is definitely what I'm after. I've always drawn dark stories. Occasionally, I'll try a perfect hero, but it's a real stretch for me. I like 'em warts and all, and obsessive and weird.

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.

I check the list. Rubber tubing, gas, saw, gloves, cuffs, razor wire, hatchet, Gladys, and my mitts.

You can never escape me. Bullets don't harm me. Nothing harms me. But I know pain. I KNOW pain. Sometimes I share it. With someone like you.

An old man dies. A young woman lives. A fair trade.

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.