Best 77 quotes of Frank Miller on MyQuotes

3,000 of my neighbors were murdered. My country was, utterly unprovoked, savagely attacked. I wish all those responsible for the atrocity of 9/11 to burn in Hell.

A man without hope is a man without fear.

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

As a cartoonist, I'm a caricaturist. First you find out what somebody really looks like, and then you find out what they 'really' look like.

A screenwriter is much like being a fire hydrant with a bunch of dogs lined up around it.

But I'm not trying to convince anybody how to vote or how to live. Nobody's ever successfully accused me of being realistic.

'Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

"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.

Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.

Comics are so full of amazing work. And I can’t look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.

Gotham City. Clean shafts of concrete and snowy rooftops. The work of men who died generations ago. From here, it looks like an achievement. From here, you can't see the enemy.

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.

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

Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.

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.

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

I don't do a comic book thinking there is a movie. I just want it to be as good a comic book as it can be.

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.

I find that if somebody is writing and drawing a comic book, planning it to be a movie and a game at the same time tends to lead to a pretty lame job.

I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.

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.

I'm a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coat. So that's what I write about.

I'm a spoilt brat. I thought I was just going to walk in and make movies. But I'd been my own boss for so long that all of a sudden to be facing a roomful of people who were niggling over every little scene... I just thought I'd go back and draw my comics and have a happy life.

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.

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.

In the world of comic books, "troublemaker" means someone who has some sense of dignity.

I prefer to write and draw in the privacy of my home and with total freedom and then take it to the lion's den.

I think most things I read on the Internet and in newspapers are propaganda. Everyone from the 'New York Times' to Rupert Murdoch has a point of view and is putting forth their own propaganda. They're stuck with the facts as they are, but the way they interpret and frame them is wildly different.

I thought Daredevil was kind of cool because he couldn't do anything. I mean, he's blind. It wasn't that he could fly. His major power was an impediment. So I was intrigued. When I took over he was kind of like Spider-Man-lite, but I was able to project a lot of my Catholic imagery onto it. And I'd always wanted to do a crime comic.

It is more raw and unfettered and I'm more likely going into something you could call extreme cartooning. There's a lot of that in the course of 'Holy Terror.' There are interludes where there are pictures - cartoon pictures - of modern figures and they are all wordless. It's up to readers to put the words in.

It's not movies and it's not "fine art." The beauty of a comic is that it's clear, direct communication. My work is getting simpler and more cartoony because I'm much more interested in communication now than in any illustrative value.

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 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.

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.

My feeling is that the hero has now been defined by phrases like the odious one that we were all raised with - crimes does not pay. Of course it pays, you schmuck. That's not why we don't do it. We don't do it because it is wrong.

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.

Nancy's got a guardian angel. Seven feet plus of muscle and mayhem that goes by the name of Marv.

News objectivity is a twentieth-century myth. We only complain about propaganda when we don't agree with it.

People are attempting to bring a superficial reality to superheroes which is rather stupid. They work best as the flamboyant fantasies they are. I mean, these are characters that are broad and big. I don't need to see sweat patches under Superman's arms. I want to see him fly.

Sometimes the solitary voice can be the best one.

The comics I read as a kid were all about guys in tights. But here was a guy who wore a fedora. He fought crime like they did in Marvel and DC, but he did it in the real world. I had just turned 12 when I met the Spirit and it was a strange coincidence. At the same time I discovered girls I fell out of love with guys in tights.

The Dark Knight series is all from Batman's point of view. But if you look at Dark Knight 2, you'll see a Superman who's much calmer than the one in the first Dark Knight. Batman and Superman are dead opposites. I love Superman. Do I love Batman more? They're not people. They're only lines on paper.

The day you write to please everyone you no longer are in journalism. You are in show business.

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.

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.

The most questionable thing I did was make Superman a government agent. If this had been a Superman story, I'd never have done that - and I know that, because I have a Superman story I want to tell someday. In this story, Batman was the hero, so the world was built around him.

The rain on my chest is a baptism - I'm born again.

Think of me as the weathered sheriff coming back into Dodge 'cause the youngsters are shooting up the church and scaring the horses and not doing right by the women.

This should be agony. I should be a mass of aching muscle - broken, spent, unable to move. And, were I an older man, I surely would ... ... but I'm a man of thirty - of twenty again. The rain on my chest is a baptism - I'm born again.

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.