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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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But when he finally does make it, they’re not going to make it easy for him. That never changes.
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Richelieu was a great statesman, and like all great statesman, he was a very ruthless man.
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But you need them to also have that sense of fun and that sense of movement and that ability to get the actors to really respond to the material in the way that you want them to. It’s a very big thing.
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One of the problems of this genre is that there are cliches everywhere, and you’ve got to be careful and watch out.
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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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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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It’s not fundamentally different to any other genre, that action is a particular thing.
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I want to make sure people are constantly surprised and interested.
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In the very beginning, she’s using him in a pretty cynical way.
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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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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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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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And we make quite a big thing about that. I won’t give too much away.
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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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