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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’re always looking to make it a bit fresh.
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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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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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Richelieu was a great statesman, and like all great statesman, he was a very ruthless man.
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Being able to do action sounds like it should be straightforward, but it really isn’t.
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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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And we make quite a big thing about that. I won’t give too much away.
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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 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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On a simple level, you need directors who are good at action and can choreograph an action scene
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Milady is, in one sense, a villain because she does bad things.
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It’s not fundamentally different to any other genre, that action is a particular thing.
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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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In the book, D’Artagnan doesn’t actually become an official Musketeer until quite near the end.
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They’re classic themes, which is why I think it’s such a great story to look at again.
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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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