Graphic NYC was formed in early 2009 by photographer Seth Kushner and writer Christopher Irving to document the evolution of the comic book and graphic novel through the experiences of New York City's creators. The two combine Seth’s pictures with Christopher’s words to create the synergestic New Comics Journalism, painting portraits of the cartoonists that New York has to offer. Through the course of their journey, they are documenting the masters of the print comic, all the way through to the pioneers of the burgeoning webcomic.
Irving and Kushner had the unique opportunity to interview Frank Miller at its studio and talk with him, among many things, about Sin City 2...

Miller, after years of trying his hand at Hollywood, had it come to him through another artist living by his own terms: indy film maker and jack-of-all-trades Robert Rodriguez, whose first film 'El Mariachi' was self-funded through money earned as a pharmaceutical lab rat.

“I met Robert Rodriguez in a Hell’s Kitchen bar. For one thing, he was the only guy in Hell’s Kitchen wearing a cowboy hat who was straight,” Frank gives with a sly grin. “He showed me what he had in mind, and I went ‘This is good.’

“He had single pages and had taken [pictures of] girlfriends and fellow actors, but he caught the look of Sin City. I didn’t think it could be done. I didn’t know digital then. He taught me digital, and now I know it well.”

Rodriguez’s “audition” clip for a Sin City movie was an adaptation of Frank’s three-page story “The Customer is Always Right,” starring Josh Hartnett. Shooting them against green screen, Rodriguez amped up the contrast and created backgrounds digitally, recreating Frank’s atmospheric implied line world loyally. It didn’t take long for Miller to give his blessing, and for the two to team up as co-directors on the film adaptation.

Sin City came out April 1, 2005, with a motley cast—boasting Bruce Willis, Clive Owen, Jessica Alba, Mickey Rourke, the late and great Brittany Murphy, Rosario Dawson, and Benicio del Toro—starring in a handful of the Sin City stories brought to celluloid life. It succeeded in the one area no other comic book adaptation had ever really tried before: the loyal translation. Sin City the film showed us Miller’s absurdist Noir tendencies in motion, while also making the creator-owned comic book a household name. It also gave Miller the last laugh, placing him in the director’s chair on his own terms.

“We’re planning on it early next year,” Frank says of Sin City 2. “We’re getting both of us happy with things, and we’ve both gotten a bit feistier,” he jokes.

“Pre-production will be early next year. Pre-production with Rodriguez takes about ten days. The guy is a lightning bolt. We’ll cast the movie across the later months of this year, and a lot of it will cast itself, since a lot of people want to be back.”

The heart of this new anthology? A Dame to Kill For, the origin of bad-ass Dwight, (played by Clive Owen in the first film) serves as the crux of the movie, with other shorter stories around it. Dwight’s a tortured man, refusing to repeat his hard and violent past by “letting loose” even one more time. When he lets an old flame walk right back into his life and manipulate him with almost fatal consequences, Dwight finds the monster within the only thing that can save him in his dark, twisted, crooked, and violent world.

source: Graphic NYC