I assured Frank Miller that I would take all the risks in making Sin City, and I would write the script based on his comic, ensuring it stayed true to his vision.

I wanted Sin City to look like the comic, so I shot tests with actors on green screen, ensuring the backgrounds matched the graphic novel's aesthetic.

When I was developing Sin City, I realized I could use green screen to create a graphic look that mirrored the comic's style, allowing for a unique visual storytelling experience.

In Sin City, I experimented with lighting techniques, such as using fluorescent tape to create glowing effects, which helped achieve the comic's unique visual style.

In 'Sin City', I shot scenes with actors like Bruce Willis and Benicio del Toro in just a few days, demonstrating the efficiency of my shooting style.

The first piece of music I wrote for Sin City was called 'Descent,' designed to evoke the feeling of descending into a dark world, which is central to the film's atmosphere.

I write the script in December and January, and I want to make the comic move visually, not just look like any gritty crime movie.

When making 'Machete', I wanted to pay tribute to the character I never got to create, and the trailer we shot was a fun way to finally bring that idea to life. People kept asking for the 'Machete' movie for five years, even though it wasn't real at first, and we finally made it because the demand was so high.

Working with James Cameron on 'Alita' was a journey that involved developing new technology to create a photorealistic character in a live-action world.