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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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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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Richelieu is not a villain, in his own mind. He’s doing what he needs to do.
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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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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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I always want the action to be witty. I don’t want it to be merely routine.
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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 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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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 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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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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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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In the very beginning, she’s using him in a pretty cynical way.
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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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On a simple level, you need directors who are good at action and can choreograph an action scene
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