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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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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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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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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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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 want to make sure people are constantly surprised and interested.
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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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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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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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They’re classic themes, which is why I think it’s such a great story to look at again.
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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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You’re always looking to make it a bit fresh.
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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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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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It’s not fundamentally different to any other genre, that action is a particular thing.
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