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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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And we make quite a big thing about that. I won’t give too much away.
ADRIAN HODGES

Away Big Make Much Quite Thing
In the book, D’Artagnan doesn’t actually become an official Musketeer until quite near the end.
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I think there’s an element in Milady where she sees her own innocence in D’Artagnan.
ADRIAN HODGES

Cynical Element Innocense Milady Past Thinking
In the very beginning, she’s using him in a pretty cynical way.
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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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Characterization Come Complex From Fun Genre Point Really Simple View Wanted
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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It’s not fundamentally different to any other genre, that action is a particular thing.
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The situation that women were in, at the time, was something that Dumas doesn’t really go into, but it’s a great subject to look at.
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Richelieu was a great statesman, and like all great statesman, he was a very ruthless man.
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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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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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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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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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I want to make sure people are constantly surprised and interested.
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I didn’t want to do that. But what I did want to do was have a real look at the adventure genre because I thought it was ripe for reinvention.
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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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Being able to do action sounds like it should be straightforward, but it really isn’t.
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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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I always want the action to be witty. I don’t want it to be merely routine.
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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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Richelieu is not a villain, in his own mind. He’s doing what he needs to do.
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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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You’re always looking to make it a bit fresh.
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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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Milady is, in one sense, a villain because she does bad things.
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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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