When you go off in the world and make your life, and you come back to your home town, and you find your old high-school friends driving in the same circles, doing the same things, that's what Hollywood's like. It's a little block, little town. It doesn't really grow or change.

I always wanted to be a stay-at-home dad making art, making movies.

I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.

You ask any moviemaker what their favorite movie experience was, and they'll say it was one of the first ones, where everyone had to pitch in and do everything together, and you had to struggle.

Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.

The studios don't finance anymore, they get outside funds.

Don't give me any money, don't give me any people, but give freedom, and I'll give you a movie that looks gigantic.

When you go off in the world and make your life, and you come back to your home town, and you find your old high-school friends driving in the same circles, doing the same things, that's what Hollywood's like. It's a little block, little town. It doesn't really grow or change.

I was from such a large family that when I first met my wife, I told her: 'You can go work outside of the house and I'll stay home and continue making my cartoon strips. Maybe I'll make some commercials nearby, you know I'll do anything locally, but I would love to just stay at home and raise the kids like I did when I was growing up.'

Frank is such a great visual storyteller, that if you study his artwork you see that his Sin City books are already the best movies never seen on the big screen.