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The BBC came to me and they wanted to adapt the book [Three Musketeers] again, in the straightforward way, and I said no to that.

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You can use the fun of the genre, but I also really wanted to come at it from the point of view of some really complex characterization.
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Our rule with cliches is to either gently acknowledge them and make fun of them, or do something else.
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I always want the action to be witty. I don’t want it to be merely routine.
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In the very beginning, she’s using him in a pretty cynical way.
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I think there’s an element in Milady where she sees her own innocence in D’Artagnan.
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Richelieu was a great statesman, and like all great statesman, he was a very ruthless man.
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You’re always looking to make it a bit fresh.
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When she gets to know him, she sees qualities in him that she recognizes and it’s almost like trying to remake the past, but of course, it doesn’t work.
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The thing about villains is that villains always have their own logic, and they don’t necessarily see themselves as villains.
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The concept of being loyal to your friends, to the point where you’d even die for them, is a great subject.
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He’s not cruel. He just does what he has to do. And in his own mind, he’s absolutely right.
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There was a lot that I wanted it to do, and I wanted it to be fun. It’s fun, but it’s not simple fun.
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It’s a great genre because you can do a lot. Sometimes in thrillers, you can really explore things, and it’s the same in this genre.
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You do see a few people and you are thinking of how that chemistry is going to work, but it’s not really fair to put people who are auditioning together in a room.
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And we’re always talking to the directors about that. It’s a big challenge to find people that can do it.
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You have to make that judgement yourself, and that’s partly where the casting director is so good. It was that blend that we were looking for.
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