We chatted with the codirector of Frank Miller’s Sin City about the ultraviolent comic-book noir, now out in a two-disc special edition.
With all the bonuses — commentaries, featurettes on makeup, props, and costumes, a greenscreen version — do you ever worry about demystifying the process? If no one watched the extras, I’d still do it, to record my own methodology. As an artist, the process is usually more important than the end result. Giving away your tricks forces you to create new tricks. Why include an audio track of an audience’s reaction? People say they love DVD, but they miss the audience experience. When the balls get ripped off the Yellow Bastard, you hear people going, ”Oh, my God!” I went from theater to theater when Sin City came out just to watch people react to that scene. Can we expect similar DVD treatments on the sequels? They’ll probably be more elaborate. Sin City was supposed to be bold and different. When you do a sequel, you can be more experimental because people are ready for it. We can present the movie several ways: We’ll shoot the full stories and then cut a tighter theatrical version, but the real version will be on DVD. After we do Sin City 2 and 3, it’ll be like having a book collection.