Walk around the right corner in Sin City and you can find anything you want.
Though I walk through the valley of the shadow of trauma, I will fear no concussion.
What happens in Vegas, stays in Vegas - except the drone.
Hell's waking up every goddamn day and not even knowing why you're here.
She doesn't quite chop his head off. She makes a Pez dispenser out of him.
I check the list. Rubber tubing, gas, saw, gloves, cuffs, razor wire, hatchet, Gladys, and my mitts.
I don't know about you, but I can never get enough David Letterman.
I don't know about you, but I call impromptu vomiting harm.
Deadly little Miho. She won't let you feel a thing unless she wants you to. She twists the blade. He feels it.
Hello, I'm Shellie's new boyfriend and I'm out of my mind. If you so much as talk to her or even think her name, I'll cut you in ways that'll make you useless to a woman.
When you got a condition, it's bad to forget your medicine.
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.
I think Sin City is a good example. Nobody would accuse Sin City of being historically inaccurate because it takes place in modern times.
Yeah, Vegas is the number one place to go. Vegas is Sin City. It really gives you a feeling of looseness and anything can go.
That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.
After the bitching I'd done to Abe about going to remote, crappy places, I should have been excited about the prospect of going to Sin City.
I bizarrely think that this [Sin City] is the perfect date movie. If a guy took me on a date to see this movie, I would marry him, for sure. It's bad-ass chicks and rad dudes, who are sexy, all over the place, and there's so much cool action.
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."
Anyone who is elected mayor of a place called "Sin City" is allowed to be a drunk.
I don't watch many comic-book movies. But I loved 'Sin City.'
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.
I was always into noir. When I lived in Vermont I was drawing stuff that looked like an amateur doing 'Sin City'. When I first got to New York I was swiftly informed that they only did guys in tights.
My reaction to 'Sin City' is easily stated. I loved it. Or, to put it another way, I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it. A tad hypocritical? Yes. But sometimes you think, Well, I'll just go to hell.
I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that I think it's gonna be very cool.
When I did Sean Penn’s movie, I think I was living in, like, a $500-a-month room, and someone called me up or bumped into me and asked me if I’d come up to work for a day. That sort of got me going a little bit. But it wasn’t until Sin City [2005] that I kind of got back into the game.
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