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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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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

It’s not fundamentally different to any other genre, that action is a particular thing.
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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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Being able to do action sounds like it should be straightforward, but it really isn’t.
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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 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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Richelieu is not a villain, in his own mind. He’s doing what he needs to do.
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In the very beginning, she’s using him in a pretty cynical way.
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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 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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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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I think there’s an element in Milady where she sees her own innocence in D’Artagnan.
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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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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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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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