The weird thing is, in America, people were saying, "You're not going to get recognized because all you're going to see is basically your forehead and eyes."

History is written by victors and, occasionally, sensationalist journalists. I mean that with the best respect.

I like bringing little subtle complexities to a character. It's all about the subtext. No one can really describe or fully know another human being, even if they get a hook on them. It's more about instinctively knowing whether you like somebody or not.

It really reminds me of the great movies of the 30's and 40's with huge sets and voluminous fireplaces you could walk around in. Glazed floors. I was expecting a Busby Berkley dance number. Big fanfare and all the girls coming out. I'd have joined in. It's got that scale, you know?

I didn't want people to go out wanting to go tool up against the bad guys (and at impressionable ages). I said, don't shy away from the violence or pull back on this, commit to this.

Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.

There's not a lot of direct back story but you do get to see them playing around each other a lot.