“Right now, there's nothing like an Emmylou, really,” he says. Miller had someone like that once, but they split up years ago. They are often bloodied but always uncompromising. His characters are fighters, loners fueled by an inner sense of justice starkly at odds with the reality around them. The film of his graphic novel 300 made Zack Synder an A-list director and engendered a spate of imposters seeking to recapture its blockbuster success. He created the indie comic Sin City, a black-and-white noir anthology series that he later turned into a big-budget movie with codirector Robert Rodriguez. His 1986 breakthrough, Batman: The Dark Knight Returns, recast the squeaky-clean superhero as a gritty urban warrior and helped comic-book trade paperbacks storm bookstores for the first time. Miller possesses a brutal, muscular worldview-of vigilantes pushed to the edge by a fallen society-that has resonated throughout popular culture over the past three decades. But don't let his frail carriage fool you. He's got a bad cough from a lingering cold. He has a red-flecked beard and gentle, watery eyes, and his longish hair peeks out from under a straw hat. He's sitting in his studio in the Hell's Kitchen neighborhood of Manhattan. He is the Batman, as drawn by Frank Miller, and he is on the T-shirt that Frank Miller is wearing. His clothes are torn, and one eye is swelling shut, but his fists are clenched. We see the middle-aged man crouching in pain, alone.
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