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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 always want the action to be witty. I don’t want it to be merely routine.
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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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Our rule with cliches is to either gently acknowledge them and make fun of them, or do something else.
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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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In the very beginning, she’s using him in a pretty cynical way.
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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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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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Richelieu was a great statesman, and like all great statesman, he was a very ruthless man.
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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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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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I think there’s an element in Milady where she sees her own innocence in D’Artagnan.
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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 want to make sure people are constantly surprised and interested.
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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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