In the book, D'Artagnan doesn't actually become an official Musketeer until quite near the end, and we make quite a big thing about that. I won't give too much away, but when he finally does make it, they're not going to make it easy for him. That never changes.

In the book, D'Artagnan doesn't actually become an official Musketeer until quite near the end, and we make quite a big thing about that. I won't give too much away, but when he finally does make it, they're not going to make it easy for him. That never changes.

They're classic themes, which is why I think it's such a great story to look at again. The concept of being loyal to your friends, to the point where you'd even die for them, is a great subject.

You're always looking to make it a bit fresh. I want to make sure people are constantly surprised and interested, and we're always talking to the directors about that. It's a big challenge to find people that can do it.

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. 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.

On a simple level, you need directors who are good at action and can choreograph an action scene, 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.

I think there's an element in Milady where she sees her own innocence in D'Artagnan. In the very beginning, she's using him in a pretty cynical way. 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.