Compiled by: Jack Foley
Q. People tried to do these other adaptations?
Miller: Well once you get used to saying no it gets easy.
I said no to Hollywood all the way, I said yes to Austin. Robert
had a whole different approach of how he wanted to make the movie,
he had a vision for how he wanted to produce it. It became irresistible.
Then he introduced me to actors and I got to work with them, and
I was smitten.
Q. How easy was it dividing up the directing chores?
Miller: We both jumped all over each other and drove
each other crazy. At the beginning we had discussed breaking up
the three stories between us. I said I’d kind of like to
do Big Fat Kill because it’s such an absurd romp. And as
we started working and preparing, Robert said ‘you’re
going to be here every day, right?’ and I said ‘sure’.
So he said we should tag team the whole job. And it’s funny
as he was editing the movie and I came to kibitz, we were going
through it and we couldn’t remember who had suggested what
shot. It was such a brotherhood between us as we were making the
movie. It was impossible to separate us on this job.
Q. Would you work together
Rodriguez: It’s very easy, we’re the same
Q. Sin City contains a lot of noirish chivalry? Was this
something you set out to achieve?
A: I figure that chivalry, honour, friendship and, of
course, romance are all part of film noir as is the inner darkness
of the central character – usually – and certainly
the villains. What people often get wrong about noir, and the
reason so many noirs fall flat is that they ignore the inner darkness
and just light it really dark. You end up with spookily lit innocent
But the great noirs, the stuff with Richard Widmark and Robert
Mitchum, was also lit dark but it was also that they got inside
your head and drove you crazy. That to me is noir. But without
sin there is no virtue, so Sin City is there to find virtue as
much as sin.
Q. Is noir essentially Catholic then?
A: No, as a matter of fact Catholicism ties into it but
no more than Judaism.
Rodriguez: I was a big fan of noir, I almost
re-made Kiss Me Deadly back in 1997, which Michael Mann was going
to produce. I was afraid to be too nostalgic.
What I liked about Frank’s material was that although it
is in that tradition of noir it was so updated, so savage and
new that it wouldn’t feel like a nostalgia trip. That’s
why I was really excited about this. That felt like the movie
I should do.