All language subtitles for Access - Three Musketeers

The young King Louis XIII
ascends to the French throne.

His once peaceful nation
is surrounded by enemies on all sides.

Within the borders of France itself,
Cardinal Richelieu, the King's advisor,

plots in secret to seize power for himself.

The inexperienced Louis
and his new bride, Queen Anne,

find themselves without a single friend.

Europe is a powder keg waiting to explode

in a war that will engulf
the entire continent.

And only a few men
can prevent the coming apocalypse.

(WATER SPLASHING)

(GASPS)

(GRUNTS)

CAPTAIN: Move out!

Halt!

You go around the corner there

and there's another bit of market,
which is very similar.

I like Athos. I think he's probably
the most complex of the Musketeers.

Matthew Macfadyen, as Athos,
is just brilliant.

He has this elegance and this grace,
but also this brooding violence.

This is a man with a dark past.

He's pretty grumpy and uncommunicative.

He's a very good swordsman.

He's quite a brutal swordsman.
There's no flash or showoff-iness.

Athos is very much the leader
of the Three Musketeers.

He's the first amongst equals.

They're a group, but he's definitely
the one they look to for leadership.

He's also probably the most troubled
of the Three Musketeers.

He's a man who was deeply in love with
a woman who then completely betrayed him.

He made me a better offer.

And that has made him lose faith in not
just love, but life to a certain extent.

MACFADYEN: Yeah, he's had his heart broken
quite soon into the story,

so he's quite dark
and he drinks to cover his heartbreak.

All for one.

When D'Artagnan meets him,
Athos is a cynical, burnt-out man.

Must be something you still believe in.

This.

This.

And this.

And it really is D'Artagnan's job
to reenergize Athos

and bring back that flame that maybe
Athos thought was extinguished.

I think in the books, originally,
he's the oldest of the Musketeers

and he looks on D'Artagnan as a son.
There's a father-son thing going on.

Life is too damn short and too damn long
to go through without someone at your side.

Don't end up like me.

And by the end of our movie,
D'Artagnan has given the Three Musketeers,

and particularly Athos,
a new sense of drive and of purpose.

(COCKS GUN)

Don't.

Getting careless?

The feeling is mutual.

So let's have a little rehearsal. This
gentleman's gonna open the door for you.

You come out of this door here,
down the steps, over here.

ANDERSON: Milla has a very period face.

I always knew she would look extraordinary
in a period movie

and in these period costumes.

Most people don't know this about Milla,
but she's an incredible history buff.

I've never met anyone
who knows more about European history.

In the whole time I've known her,

she's been very interested
in period etiquette,

and she's read books about that
and about the royal court.

And of course, she's a fashion designer
so she knew all about the dresses.

So, this was a period
that she was fascinated with

and had a lot of passion and knowledge
to bring to that role.

Can I just surprise you
and do something crazy?

(TALKS GIBBERISH)

For me, Three Musketeers
was always the classic,

action-packed, fun...

It's the kind of book that
you can't stop reading once you start.

It's a page-turner

where every chapter leaves you hanging

and you wanna know
what happens in the next.

It's one of my favorite books,

so Milady is one of my favorite characters
in historical literature.

You have a gift for corruption
and a penchant for betrayal.

I admire such skills.

Milady de Winter is a double agent,
she's a spy,

she's a tough girl, right?

And I think there's a tendency
in period movies

for tough girls to repress their femininity
and play the roles more like men.

And Milla was very determined to go,
"Look, I want to be the first person

"to do an action scene
in a real period dress

"with the big skirts, with the big
petticoats," which was a huge challenge,

but actually, it looks spectacular because
no one had ever tried to do that before.

JOVOVICH: I look at her as really
one of the most modern women in literature.

She's incredibly smart and single,

and living in a man's world,
dealing with men,

yet she's respectable.
It takes a very smart, strong woman

to be able to navigate a man's world,
especially in the 17th century.

So, you have to be strong
and you have to be manipulative

and she definitely lies and cheats
and steals.

Don't.

But at the same time,
what guy wasn't in those days?

She was just different
'cause she was a woman.

For me, I find a lot of sympathy in her
because being a modern woman myself,

I respect that about her. I respect
that she could live in a man's world

and pretty much show these guys
who's who.

- It's an international woman of mystery.
-(LAUGHING)

For future reference, "I love you"
would have been a more suitable reply.

(GASPS)

Could have just said, "Hello."

What would be the fun in that?

- How was the bishop?
- Not as good as you.

You are incorrigible.

I bet you say that to all the girls.

Right across the small canal from us here,
we see Venetian Gothic arches

and a wall behind it. It's actually

pretty much an exact copy of the Ca' d'Oro
Palazzo on the Grand Canal in Venice.

We don't have enough height here
in the studio, but there's actually...

We're building other pieces,
which will be on top of this,

which we shoot against green screen.

For the stunt work, someone gets shot
with an arrow and falls off into the canal.

The water you see here is about 90 cm deep.
You can see it's just at my waist.

Waist-height.
It's a wooden tank that we've made,

filled with a black pond-liner.
It's just a rubber membrane.

And we've actually got
two layers of this.

We actually filled it
up about four days ago.

We sprung a small leak,
so we had to drain the whole thing,

find the leak, which was
a little small screw in the far corner

that had landed in there
and got stepped on.

And then it's dyed, because you can see
it's quite clear here,

but if we didn't put color in it,
you'd see the bottom.

It's got a black color, which isn't bad,

and we used...
It's a product that's used in health spas.

So I guess the stuntmen
that are falling in are

getting a little spa
treatment today, too.

MAN: Action!

ANDERSON: Aramis is very interesting.
Again, he is a complicated man.

For me, in a way that
I don't personally relate to so much

because Aramis is a man of the cloth,
and obviously that's not my experience.

He was a priest
and then he became a Musketeer.

But he's always kept his religious
background. He's very religious.

He's often found reading the Bible.

He prays for all his victims,

the people he kills in battle.

The men I kill deserve to die.

But they also deserve peace.

After all, they must have believed
in something.

We all do.

He's quite a studious, quiet creature.

ANDERSON: He has a very interesting line,
which is straight from the book,

where he says he realized
that being a man of God

and a man of the cloth
was not exactly the same thing.

Which speaks to how corrupt
the Church may have been at that time.

And also how the Church was used as a
force for political and social control.

And that's very much embodied
by Richelieu.

I already have a job.

ANDERSON: So, Aramis is
a man who's lost faith slightly,

and he's lost faith in his religion
and he's lost faith in his cause,

which is to fight for France.

So, he's lost faith
in a different way to Athos,

but both of them are very, very similar
in that they need a great cause,

they need someone young and fresh

to excite their enthusiasm
and get them back out there

and make them the warriors
they were before.

You need to see the people around you
before you decide your next plan of action.

I remember Paul Anderson saying to me,
"He's gonna fight like Jason Bourne."

So he's great. He's very agile.

That's how we've created Aramis
to be very different

from the other two Musketeers.

I get to use wire work,
and I'm jumping off things,

and flying through the air
and landing on gondolas.

- Too much fun.
-(MAN CHUCKLES)

You get paid to do this.

EVANS: It's one of those films
where it's a treat to come to work.

I remember being a kid
and playing a Musketeer,

and now I'm doing that for real.

- I'm not a priest.
- I'm not really a lady.

I have 10 minutes.

There once was an aunt from Lorraine

With an incredible tolerance for pain

She had a nasty habit
Involving a chicken, a frog, and a rabbit

I expected more
from a man of your reputation.

I don't suppose you have any idea
where I could find Athos and Aramis?

- Never heard of them.
-(CHUCKLES SARDONICALLY)

(BURPING)

You French spies.
You're very, very arrogant. And foolish.

And you're so...

Sexy?

It's a wonder it took me so long
to catch you.

You didn't!

I beg your pardon?

You didn't catch me.

And what exactly are you doing here?

Catching you.

Porthos is always portrayed in the book
as the giant of the Three Musketeers.

And that's really what made Ray Stevenson
perfect for playing him.

He's just one of those guys
who just carries an immense aura with him.

Vive Ia France!

He just inhabited Porthos' shoes so easily.

And we wanted to make his character
slightly different

to the way Porthos had been portrayed
in a lot of the other movies.

I'll drink 110 that!

RAY STEVENSON". in this version,
we have a bit of license

that we can create a bit of a backstory
for our characters.

I was looking at paintings of the period

and I liked the fact
that in certain paintings,

people actually had their hair cut.
There weren't just the wavy locks,

the traditional look,

and I even have a pearl earring.

- Must be my close-up, sir.
- ANDERSON: Time for your close-up, Ray.

STEVENSON". Then I started thinking,
"Maybe he's not from Paris,

"maybe he's actually from Marseille."

He's had a bit more of a naughty,
nautical past,

he's been on a ship before,
he's traveled a bit,

he's got that swarthiness.

PORTHOS: New plan.

Kill the boy, kick their asses,
and then go get some lunch.

I could do with some exercise.

He's got a different method of fighting,

he hasn't got necessarily the elegance
or the grace

that Athos and Aramis have.

(GRUNTS)

He's got a different fighting style,
he's got a different way of dressing,

he's got a different attitude to life,
but at heart, he's got that certain DNA

that makes him a Musketeer.

ANDERSON: And also,
let's embrace an aspect of Porthos

that most people haven't seen before
in the movies,

which is,
when the Musketeers fall on hard times,

they all have to make money
out of something other than just fighting.

And the way Porthos does it
is he's a seducer of women.

He's a kind of sexy hedonist
with a tendency towards violence, really.

But he's also found himself
quite comfortable

in the company of, shall we say,
more mature ladies.

Darling, you spoil me.

I don't know how I shall ever repay you.

I think when people think of Porthos, they
just think of this huge, big, burly guy.

But in fact, Porthos from the book
and the way we've portrayed Porthos

is, yes, he's big, yes, he's powerful,

but he's also very, very elegant.

And he's very proud of the way he looks.

He's a big guy,
but he's also a sophisticated guy.

So he's very much a magnet for women

and he uses that to his advantage.

The ladies of Paris
are infinitely more complicated.

They have 1,000 ways of saying, "No,"
and only some of them mean, "Yes."

I think, in many ways, Porthos was the role
that Ray Stevenson was born to play.

(LAUGHING SCORNFULLY)

(LAUGHING SCORNFULLY)

Key.

Vive Ia France!

ATHOS: Da Vinci's Vault.

Leonardo designed it to protect
the plans of his greatest inventions.

MILADYI Shall We?

ATHOS: Now.

Your part's done. Why don't you stay back?
We'll meet at the rally point.

We came together,

we leave together.

(CHUCKUNG)

AUSTERBERRY: This set here,
it's called the Venetian Treasury.

What this is,
this is sort of a Romanesque design.

It was inspired by the Siena Duomo.

What happens is,
they break in the secret stair

and they descend the staircase,
which you'll see at the very end here.

What they don't realize is this is
a booby-trapped corridor.

You can see close up here on the wall,
we've got four different head designs.

We molded 100 of these. We actually only
need 90, so there's 25 of each of these.

They've been molding them
for about a month.

There's a torch that goes in place
each side of these heads.

I mean, the thing about, when you design
these sets, you have to think

we're in a dark, underground place
with no source of lighting.

So I've left it open above us here,
between the arches,

and I'm putting the light source,
the practical light source, as we call it,

on the walls here, close, so the director
of photography can actually put

a lot of soft ambient light above
that we don't really feel is up there,

but just gives enough
light to light the set.

And then the practical lights,
which will be here,

will be the ones
that give the nice character light.

The idea of this space here,
it's this little round chamber.

There's a piece missing here, now,
but there's two layers of the steel frame

that holds scrolls.
There's a lot of secret information

that is stored in here, valuable
information. There's gonna be manuscripts,

big books and trunks of things like that.

And in this, our centerpiece,
all you'll see is this stack of scrolls.

And just to fill this is about 1,600 rolls.

And because it gets shot up...
Basically what happens is a big gunfight

comes down this corridor
and paper is gonna start flying in here

and it'll become like snow.
It's gonna be shot on a WEISSCAM,

which is 200 frames per second,
so we want stuff to be floating in the air.

So I thought, well, what great thing
than paper?

It becomes like confetti or snowflakes
in a way.

Athos, you do know what's up there?

Just hold your breath.

(MUFFLED EXPLOSION)

SOLDIER: Get out!

Hey! Get back down there! Now!

Go ahead, say it!

I love you.

(ALL LAUGHING)

I hate to ruin the mood,
but perhaps we could go elsewhere?

You know, for once I think
the padre may be right.

ATHOS: All for one.

ALL: And one for all.

So, what's next?

Back to Paris, I guess.

And then what?

Wherever they send us,
whatever France needs.

It's who we are. It's what we do.

I do love you.

I know.

Then please try and understand
that this isn't personal.

It's strictly business.

He made me a better offer.

Ah! Athos.

Buckingham.

A toxin.

In case you were wondering, it wasn't
in your drink, it was on your cup.

Inactive until it came into contact
with the liquid.

Don't worry.

It isn't fatal.

Although I suspect
a part of you wishes it was.

You take all the risk and I get the reward.

Hardly seems fair.

Well, just so you don't leave empty-handed,

a word of advice.

Trust no one, especially women.

You'll live longer.

(CHUCKUNG)

Telling him you loved him
right before you betrayed him.

I must say, that was cruel,
even by my standards.

I only took away his prize.

You took a lot more than that.

At last, the war machine.

(LAUGHS)

ANDERSON". Logan Lerman as D'Artagnan
brings this fiery intensity.

His body is almost vibrating
with all this youthful energy,

vibrancy, and that's what D'Artagnan is.

I'm afraid I must ask you to apologize.

And if I don't?

I shall have to kill you.

D'Artagnan's a cocky, young swordsman.

Do you know who I am?

Do you know who I am?

- No!
- Then we're even.

He starts off very naive and optimistic

and he's full of youthful exuberance.

(GROANS)

- Sorry! Here.
-10 sous?

- Who do you think you're talking to?
- The town drunk, from the smell of you.

Now that, my boy, is fighting talk.

MACFADYEN: The old, grizzled Musketeers
warm to him

'cause they see
something of their old selves in him

and they see a youthful excitement.

Cooper's Yard, St. Germain, 2:00.

Strange boy.

ANDERSON: Logan's a true teenager.

And it was very exciting for me
to put that excitement on film

because it just pours out of Logan.

Patience is not one of my virtues.

Well, neither are good manners.

Wait for your turn, old man.

ANDERSON". And then, you get to juxtapose
him with the more world-weary cynicism

of Matthew Macfadyen,

Ray Stevenson, Luke Evans.

Older actors,
they've done a lot more movies,

they've done a lot more things,

they've lived a lot more life,
they're a little more cynical,

which is exactly what their characters are.

...I thought you'd all be
a little bit more...heroic.

(PORTHOS LAUGHING)

LERMAN: It's that fantasy
when you're a kid,

running around the house
with sticks or whatever,

pretending like you're sword-fighting.

ANDERSON: Action!

Look down.
It's a trick an old friend taught me.

Everybody wants to be D'Artagnan,

everybody wants to be
one of the Musketeers.

And it's pretty surreal to actually
be playing one of these characters.

MAN: All right, guys.

Do this again. I'll see you in a second.

Look down.

It's a trick an old friend taught me.

Your adversary will not always be
as noble as you.

Remember that,

and I have nothing left to teach you.

I doubt that, Father.

Keep it.

It's passed down from generation
to generation, from father to son.

It's yours now.

The weapon of a Musketeer.

The real weapon of a Musketeer

is here.

All for one.

And one for all.

You remind me of somebody.

Let me guess. You.

No, no.
The man I wish I was when I was your age.

Well, you should really be on your way.

Take this purse. There's 15 crowns in it.
It's enough to get you to Paris.

And you'll need a mount.
Your mother's insisting you take Buttercup.

- I know it's not much, and...
- It's plenty.

Take care of yourself, my son.
Try not to get into any fights.

If I'm to be a Musketeer, I think I might
have to do a little bit of fighting.

Stay at the back if you can.

Yes, Mother.

There's one more
piece of advice.

I know, I know. Don't
get into any trouble.

Wrong.

Get into trouble.

Make mistakes.

Fight, love, live.

And remember, always,
you're a Gascon and our son.

Now go. Go.

ANDERSON: Mads was one of those guys
I was a little nervous to meet

because he always plays
such convincing bad guys.

And I should know, of course, by now,
the actors who play the most evil men

are always the nicest people.

- Awesome.
- It's a shame to kill this guy.

And like I said,
no one sees you hit the ground.

ANDERSON". In Hollywood movies, he's
kind of made a career of playing bad guys,

but absolutely one of the nicest men
you could ever meet.

Very smart script notes. He had
some very smart thoughts about Rochefort

and how to make him both dislikeable
but also relatable,

which we kind of
incorporated in the script a lot.

MIKKELSEN: It's also a matter
of where you're standing.

I mean, we do believe that we're right,

and in real life, "axis of evil," I think
there's two sides of that coin, as well.

People who are doing what they think
is right, they believe they're right,

and that's what we do.

ANDERSON". And also, the great thing
about Mads is, he's very physically adept.

He used to be a dancer, so...
And you think,

like, dancers often
make the best fighters,

in movies, anyway,
because they know how to move,

and they know how to hold themselves.

It's what made Gene Kelly
a fantastic D'Artagnan.

Didn't really know how to swordfight,
but boy, did he know how to move.

Yeah, in many ways it was a dream. I mean,
I don't know if it was an actor's dream.

Of course, as I said before, when I was a
kid I didn't dream about being an actor.

But I did watch films like this,
specifically the Gene Kelly version.

And yes, I dreamt of being one of the guys
up there flying around,

dancing around with the sword.
It was so elegant, it was so charming.

And all of a sudden I'm doing it now,

slightly older as I was
when I saw it the first time.

So in many ways it's a child dream,
and now it's also an actor's dream.

As you wish, Milady.

Rochefort, come.

We're expected in Paris.

D'ARTAGNANI Thank you.

(GROANS)

ROCHEFORTI Make way!

I think you've had enough.

Where's my tankard?

D'ARTAGNANI Excuse me!

You think you're better than me?

No.

MAN: Watch yourself, boy!

All for one.

Excuse me!

- Sorry! I'm sorry!
- Are you blind?

Look, I'm chasing after a man
who insulted my horse

and tried to kill me, so let me go!

That's not good enough.
You spilled my drink and ruined my shirt.

I'm in a hurry.

(GROANS)

- Here.
-10 sous?

- Who do you think you're talking to?
- The town drunk, from the smell of you.

Now that, my boy, is fighting talk.

- What are you saying exactly?
- Blind and deaf.

Fortunately for you,
I'm somewhat of a doctor.

Great! When can you fit me in?

12:00, Cooper's Yard, St. Germain.

I'll be there.

Excuse me!

I just can't decide.

Well, if I might point out,
this does make you look very dignified,

whereas the blue one
brings out your dashing side.

Equally important.

Dignified. Dashing.

In the words of King
Solomon, I'll take both!

A most excellent choice, sir.

(SNAPPING FINGERS)

Darling, you spoil me.

I don't know how I shall ever repay you.

- Watch yourself!
- My apologies.

Matter of life and death. Won't happen
again. Believe you dropped this.

This isn't mine.

I saw the lady hand this to you,
I'm not blind.

Are you implying that
I take money from this woman?

Are you saying that I cannot afford to pay
for my own wardrobe?

Do you know who I am?

Do you know who I am?

No!

Then we're even.

You're in luck, boy.

Ordinarily, I would slaughter you on the
spot, but this is a brand-new jacket.

Cooper's Yard, St. Germain, 1:00.

I suggest you dress for a funeral!

What?

- Lottery!
- There you go.

Lottery ticket, sir?
Might be your lucky day!

What the hell?

5 francs?

Hey! Hey!

What is this?

It's a citation.

It's a ticket.

Failure to remove animal bowel movements
from public area.

French.

Your horse took a dump on the street.

You're joking.

That's what they all say.

You know what?

Cooper's Yard, St. Germain, 2:00.

Strange boy.

The Dumas novel is a masterpiece
and the characters are phenomenal.

So we had to bring in actors

who had the ability to live up to that.

And with Christoph, he will exceed that.

Evil is just a point of view.

ANDERSON: It was delightful
working with Christoph.

I mean, he really is a gentleman.

And he was a lover of Three Musketeers.

He wanted to know
how his Cardinal Richelieu

was going to be different
to any other Cardinal Richelieu.

And I said, "What we're going to do is,
we're actually going to be,

"I think, the first movie
to portray him correctly."

- Took you by surprise, eh?
- Yes, indeed, you did.

ANDERSON". He trained as a warrior
but then became a priest.

And that's why he was the leader
of France's armies,

because he had this unique combination.

And that was something
we tried to bring out in the movie.

It's why Richelieu has a sword-fighting
scene in the film,

because most people don't realize
he was an excellent swordsman.

It's the reason why he wears armor
in the movie,

because most people don't realize
he actually led France's armies.

I assume this is the part
where I'm supposed to laugh maniacally

and regale Your Majesty with the details
of some diabolical plot.

I thought you'd say that.

WALTZ: This story is not a biography
of Cardinal Richelieu.

It is a fictitious dramatic construction.

It needs to serve the dramatic purpose.

Which does not mean that you shouldn't try
to utilize as many facts as possible.

And what of the future of France?

I am France.

WALTZ". Richelieu has the power.

He has more power than anyone in France.
France is his.

He doesn't have to fight for power.

He just has to arrange things
so that everything runs smoothly.

I have a feeling my new war machines
will readdress the balance.

Very impressive.

CASTELLANI Milady de Winter!

Close game, Your Eminence.

- Hmm.
- Who's the opponent?

Myself. No one else proved to be
a sufficient challenge.

(GASPS)

Hmm.

What news of England?

He's coming.

- Buckingham?
- Hmm.

And...

And?

He built it.

The war machine.

And he doesn't question your loyalty.

He thinks he's so cunning.

So evil.

Evil is just a point of view.

Ah!

Richelieu.

Is this lady the emissary from England?

Your Majesty is exceptionally alert.

So, madam,

what of Buckingham?

Majesty?

Well, what's he wearing these days?

Green, Your Majesty.

- Green?
- Hmm.

LOUIS XIII: Very interesting.

And you had the gall to recommend blue?

Of course it should be green.

Why am I surrounded
by incompetent idiots?

Green, green, green!

Do I have to do everything myself?

(CLOCK BELL STRIKING)

D'ARTAGNANI Ah!

There you are. Shall we get to it?

ATHOS: So, are you eager
to meet your maker?

I have other appointments.

You'll miss them, I'm afraid.

Well, I'll try my best to be on time.

My seconds.

YOU!

You're fighting this rascal?

My appointments.

1200. 2100.

How long have you been in Paris?

- Arrived this morning.
- You have been busy.

Patience is not one of my virtues.

Well, neither are good manners.

Wait for your turn, old man.

(LAUGHS SCORNFULLY)

What would you like me to put
on your headstone? "Little shit"?

D'Artagnan.

D'Artagnan.

I'm Athos.

This is Porthos and Aramis.

The Three Musketeers.

I've heard of you.

From my father, a Musketeer himself.

In fact, I came to Paris to be one of you.

I'm afraid you're a little late.

What happened?

Oh, a bad mission. Budget cuts.

Cardinal, progress.

Take your pick.

(smamwe)

Well, then, welcome to Paris.

Pity we'll have to kill you.

Well, if I can't become a Musketeer,
I might as well fight one.

Or three.

(LAUGHING) Kill him already.
It's lunchtime and I'm starving.

Halt!

(GROANS)

Jussac.

Well, well, well. How
the mighty have fallen.

Dueling in defiance of the edicts?

You got tired of rolling peddlers
for spare change?

- Now...
- GUARD: Seal the square!

JUSSAC: Surrender your weapons
and come along with us.

GUARD: Seal it off!

Unless, of course, you would rather resist.

PORTHOS: New plan.

Kill the boy, kick their asses,
and then go get some lunch.

I could do with some exercise.

GUARD: Seal it off, boys!

You were saying?

On the other hand,
discretion is the better part of valor.

You're the Musketeers.

Wrong.

We were the Musketeers.
Now we're just...us.

ATHOS: Rochefort.

Yeah. If you go too far,
it's too hard to come back.

ANDERSON: I wanted
the sword fighting to look real.

We thought about it a lot.

We had an excellent stunt coordinator

and second unit director Nick Powell.

Very experienced. Did Gladiator, did
The Last Samurai, did The Bourne Identity.

And I said to Nick, "Build me
swordfights that are 100% real.

"No wires, no trickery, no CG blades,
no plastic blades.

"I want real swords
with people really fighting.

"You give me reality
and I will shoot them in a modern way."

And, also, I told Nick
that we have to have the actors

do all the swordfights themselves as well.

I didn't want to rely on stuntmen.

I wanted to be able to shoot
fight scenes that were total reality.

By the numbers, nice and easy.

Start from the beginning again.

This is a really nice sort of experience
from my point of view,

because all the actors
are being really good.

Any good actor generally learns a fight
really quickly

if the fight's well choreographed.

It's like dialog.
If the dialog's not well written,

you tend not to be able to
remember the lines that well.

And it's the same with the fight.

If the fight's not that well choreographed,

you tend not to be able to remember
the choreography as well.

If it's not logical, if it doesn't make
sense, it's harder to remember it.

And they've learned really quickly.

We've trained like animals to fight.

Fantastic, the fighting was great.

LERMAN: Went through months
and months of training

to be able to look like
I could swordfight in this movie.

And throughout filming, just every day of,
kind of, perfecting a new fight sequence.

It's very authentic,
and with 3D you have to be so accurate.

There's no faking it.

There's no slicing a sword three feet away
from somebody's face.

It has to be inches away
from their face itself.

Very cleverly Nick Powell
has made our fight choreography

unique to each individual Musketeer.

We all fight very, very differently.

So if you watch Porthos,
it's slightly bigger,

slightly more powerful,
and a little more fun.

Whereas you watch Aramis,
and he's a bit more like a surgeon.

And D'Artagnan's got the youthful
exuberance and enthusiasm.

I'm attacking you.
Step out, out of the distance.

Do you think I still can reach you
with a lunge?

- Yes.
- Okay.

So you should go out of the distance that
I'm not able to reach you with a lunge.

MACFADYEN: We had three weeks of quite
intensive training with lmke Duplitzer.

Step forward.

She's a European gold medalist
in épée fencing.

POWELL". lmke basically came in
when we were starting to train the actors

and she's there to give them
a good, solid technical base.

Imke would actually take them away,
do the warm-ups,

make sure the lunges were correct
and their technique was good,

prior to coming in for the choreography.

Step forward.

Two steps forward.

LERMAN: It was a boot camp. It really was.
It was intense, it was difficult.

She whipped us into shape
and made us look good.

Such a privilege to work with someone like
that, who's one of the best in the world.

Imke was great and gave us
all very sore thighs to begin with,

because it was all thrust and parry.

EVANS: She taught us very well.

And when you have people
like lmke and Nick Powell,

an incredible group of stuntmen

who are just brilliant
swordsmen themselves,

it's really helped us perfect it.

MAN: And action!

We tried to make sure that each of
the fights in the movie was organic,

and actually told you more
about each character.

The state of him,
at which point he is in the movie.

It tells the audience a lot more about
the characters

than just, yes, the guy can use a sword.

You want everybody at the end of the movie
proud of what's been done on it.

So it's not just a case
of throwing a few fights together

and going, "Yeah, this is a swordfight."

It's actually doing good quality work.

- He's very pissed off.
- And cut!

(CROWD CHEERING)

(CROWD CHEERS)

(CHUCKUNG)

ARANHSI Shall We?

MACFADYEN: The fighting was great.
We spent the first 10 days of filming...

We shot a huge fight with 40 stuntmen in
a big square in Bamberg, a town in Bavaria.

And it was just great.

For the Cooper's Yard sequence,

we spent, I guess,
probably about six weeks, with Logan,

of choreography and rehearsals,

and we started to choreograph with very
few stunt guys and built it up as we went.

The other actors had
about two and a half weeks of rehearsals

prior to the Cooper's Yard.

I mean, that's quite a short time, so
we had to be quite intensive with them.

That was one of my directorial choices,

was to do a lot of sustained takes
in the movie.

So, for example, there's an excellent
fight scene with Matthew Macfadyen.

You see Matthew kill a dozen Cardinal guards
and you see him do it all in one shot.

And there's no trickery, he just does it.

And we're close to him all the time,
and you see it's Matthew,

there's no face replacements
or anything like that.

And I think that's different, as well.
I think people have got so used to

actors relying on stuntmen, especially
for something as exotic as swordfighting.

POWELL: The funny thing with this move was

that we actually started
the first day of principal photography

with the biggest fight sequence
in the movie, essentially.

This is such a slick, stylish move.

I think once you're off the cart,
right, you go in...

You know, there's a punctuation to be had
at the end, and then on to the next piece.

The fight sequence was actually scheduled
to start three or four days later,

and then they pulled the schedule forward.
So we were racing to get everything ready

to be up there in time and to be able
to turn over on the first day of principal.

It was pretty hard going to get everything,
you know, as quickly as we did,

but we managed it and it looks...
I think it looks really good.

Can't you see
we're trying to have a conversation?

(CROWD LAUGHING)

What is your name?

Constance.

Constance. Sounds very steadfast.

A quality you seem to know little about.

- Oh, I beg to differ.
-(JUSSAC GROANING)

Deep down, I am a hopeless romantic.

Back for more?

(CROWD APPLAUDING)

(CROWD CHANTING)
Musketeers! Musketeers! Musketeers!

I'd forgotten what it feels like.

We all have.

The name is D'Artagnan.

You must come from a very small town.

How did you know?

CONSTANCE: Lines like yours
might actually work there.

This is Paris.
I suggest you stick to swordplay.

In the battle of wits,
you, sir, are unarmed.

(SIGHS)

(PORTHOS CHUCKLING)

She's right, lad.

The ladies of Paris
are infinitely more complicated.

They have 1,000 ways of saying, "No,"
and only some of them mean, "Yes."

I hate to ruin the mood,
but they will be back.

And unless you wish to
fight an entire army.

Elsewhere.

D'ARTAGNAN: So, now what?
Do we pick up where we left off?

ATHOS: I think there's been enough fighting
for one day.

PORTHOS: Besides, any man who's an enemy
of Rochefort is a friend of mine.

D'ARTAGNANZ Who's Rochefort?

ARAMIS: Captain of the Cardinal's guards.

The right hand of the most powerful man
in France.

Rochefort is the most feared swordsman
in Europe.

You certainly know how to pick your fights.

Like I said, he insulted my horse.

PORTHOS: You're reckless,
arrogant, impetuous,

probably be dead by sundown,
but I like you, lad.

- Where are you staying?
- No idea.

Ah! Do you have any money?

Well, good sir,

you and your fine steed
are welcome in our humble home.

For the time being.

That goes in there.

(NEIGHING)

Come on.

AUSTERBERRY: This is
the Musketeers' apartment.

This is our smallest set on
The Three Musketeers.

They are unemployed, basically,
at the time we find them in this movie,

so they're living quite humbly.
This is a set we built the exterior of

in Bamberg, on a bridge.
So in theory, out there's the Seine.

Out that balcony would be the Seine.

We have Planchet,
who's going to be cooking over the fire,

which is going to be behind me.
Special Effects are rigging a gas fire.

In that corner will sit
this cooking stove here, as well.

In theory, there's a fire underneath
that warms the pots on the top.

Next week we'll dress this.
It'll be quite busy in here

with all kinds of proper 17th-century
utensils and everything.

This doorway right beside me here
is actually from France.

It's a two-part door
with original hardware.

And it's a proper period, 17th-century door
that we rented, actually,

so we can't paint it or anything. That'll
go back to France when we're finished.

What's behind me here is, in theory,
a little bedroom area for the Musketeers,

two of them. And then on the other side
of this humble apartment,

there'll be another bed,
and that'll be the third Musketeer's.

And basically, all the style and the shape
of all these cooking items

came from reference materials.
We had lots of documentation.

My set decorator, Philippe,
he's done a lot of period French movies.

He's from Paris.
And we looked at a lot of images

and then we borrowed various designs
and this is what we ended up with.

We have real plaster walls in here,
and we have real wooden timbers

that we've actually sandblasted to give all
the texture.

And then it's being stained afterwards,
right now.

Another real thing we did get is
these terracotta tiles which you see here.

They also came from France.
These are period tiles,

they're from a period house in Paris,
and we rented them, actually.

And we brought them here
and we stuck them down.

When we're finished,
we'll send them back on a truck to Paris.

Once it's all open here, it'll be a
really great little set, actually.

A lot of character and
a lot of warmth. We're

in so many large, large,
expansive locations

that it's quite nice to have a little intimate
scene for once, and this is their home.

So, I'm quite excited
to see this one finished.

After all, they must have believed
in something.

We all do. Even the worst of us.

I'll drink 110 that!

Planchet! More wine!

Planchet!

Sorry, sirs.

I'm afraid

there's none left. You've drunk the lot.

PORTHOS: What sort of answer's that?

Well, go get some more, man!

Very good, sir. It's just, I can't, sir.

We've run out of money.

- PORTHOS: Planchet, what are you?
-(SIGHS)

- Complete and utter waste of space, sir?
- And?

- As much use as a fart in a bottle, sir?
- Right.

In short, sir, a total tit, sir.
But I can't work bleeding miracles!

D'ARTAG NAN: Planchet?

On! (CHUCKLES)

Thank you very much, sir!

That's incredibly generous
from such a handsome, young man.

Thank you very, very much.

Will you be staying here tonight?

ARAMIS: He'll be taking your bed, Planchet.

Right, and so I'll be sleeping...

You may take the balcony.

Outside? The balcony outside in the cold?

With birds shitting on my head all night?

Great, can I just say you...

Wine! Wine!

- ALL: Wine! Wine! Wine! Wine!
- Yes! Of course! Wine it is, sirs!

(BIRD FLUTTERING)

(GASPS)

(GROANING)

RICHELIEUI Check.

(SCOFFS) This is a ridiculous game.

I read these books when I was a kid.

My dad read me these books
when I was a kid.

And I kind of like to get influence
from all over the place.

I read a little biography
about him, 'cause I

always think if you're
playing a real person,

why not see if there are any knickknacks
to be found in a biography of them.

You know, just tiny details.
And your job, in the end,

is not to be necessarily faithful to
who the real person was,

it's to be faithful to the rendition
of that character in a script.

All right, stand by to shoot. Here we go.

But they were kids.
They were nothing when they had to rule

a huge country like that. I mean, these
guys had entire control of a country...

At the age of 14,
King Louis ascended the throne.

I mean, he wasn't given full powers
until he was sort of 16, 17, 18,

but the decisions he had to make!

I mean, the movie paints him as, certainly,
that a lot of the decisions are made

by Richelieu,
and he just gives his name to them.

But, again, by the end of the movie, he's
taking full control of his own actions.

That huge responsibility on young
shoulders is very affecting, I think.

Who was involved?

Athos, Porthos, Aramis.

The usual suspects.

And a young man called D'Artagnan.

I have summoned them to the palace so that
Your Majesty can punish them severely.

His Majesty, the King!

Well, well, well.

(CLEARING THROAT)

Brawling with the Cardinal's guards.

That's very bad.

What have you got to say for yourselves?

- We...
- Humbly beg your pardon, Your Majesty.

LOUIS XIII: Yes. Yes, I
should hope so, too.

So, tell me, how many
were involved in the altercation?

There were four of us against 40 of them,
Your Majesty.

Four against 40?

- And you beat them like a drum?
-(COUGHING)

And, yes, you shall have to be reprimanded,
of course,

most harshly, I'm afraid.

- You do understand that, don't you?
- We do, Your Majesty.

CASTELLAN: Her Majesty, the Queen.

It's very interesting to be playing a very
young woman who has so much power.

And that's so scary, you know?

And she always has to make sure
that in front of people she's okay

and she's strong
and she knows what she's doing.

But actually, underneath it all,
she is a little girl,

so that's been a cool dynamic to play with.

I had met Juno when Milla was making
a movie with her last year

called Dirty Girl, which was a kind of
low-budget, independent film.

You immediately noticed her. She was really
this kind of very energetic... Wild hair,

and absolutely did not look like
the Queen of France,

but had this energy and intensity.
And I thought, "You know what,

"that's exactly what the Queen needs,
is she needs this kind of strength."

Because, ultimately,
Richelieu is scared of the Queen.

'Cause he sees a young woman
who, if he allows to grow in maturity

and grow in power,
she will become a challenge to him.

TEMPLE". She's very strong-willed
and she's not going to be played around.

She will not have that. Even though
she's young, that's something she knows.

She's not going to be made fun of,
she's not going to be made into a joke,

and she won't have people
behave like that with her.

And she's very firm about that.
It's an honor to be a part of this.

It's been a real challenge to be regal
and think about posture

and how you'd hold your head
and how you're always, always on show.

I mean, it's the polar opposite
to how I am in real life,

and that's so cool. I've really had
a good time playing a character.

A former Musketeer as well.

These are the only clothes I have.

LOUIS XIII: Oh, Lord.
We shall have to rectify that.

Can't have my Musketeers,
or the son of one, looking like tramps.

New suits all around, I think.

Yes. You'll see to that, Cardinal?

And, yes, I think a purse of gold for each
as a reward for your courage.

You'll see to that as well, Cardinal.

And, yes, before I forget,

no more fighting
with His Eminence's guards.

Hmm?

Or there'll be none of them left.

(PEOPLE CHUCKLING)

Your Majesty, might I suggest a more...

Forgive my impudence, Cardinal,

but I doubt the King
requires your advice in this matter.

After all, they are his Musketeers.

Good day, gentlemen.

LOUIS Xlll: Well, now,
off with you rascals.

But be there for the parade tomorrow.
New suits and all.

RICHELIEU: I tire of these royal children.

It's time to make our move.

We shall use Buckingham's arrival
to our advantage.

During his visit, we will reveal

that he arranged a secret rendezvous
with the Queen.

May I inquire how Your Eminence
has uncovered this scandalous affair?

By reading Buckingham's letters
to the Queen, found in her possession.

Written in Buckingham's hand,
then authenticated by his seal?

A woman of your talents
should have no trouble procuring either.

Hmm. Your Eminence is too kind.

However, I doubt that the King
will accept such letters

as definitive proof of
his wife's indiscretion.

Then we shall provide him
with something a bit more substantial.

A piece of the Queen's jewelry given
to Buckingham as a token of affection.

Buckingham will be humiliated.

The King will be outraged.

The Queen will be executed.

France will have no
choice but to go to war.

And in times like these, France will
naturally turn to a stronger leader.

Someone better equipped to rule a nation
than a cuckolded teenager with a grudge.

Hmm.

Someone like Your Eminence.

CAPTAIN: About face!

Well, where is he, then?
It's just appalling manners.

Behind us here we have the front prow
of Buckingham's airship.

Buckingham's logo was the lion,
and we have a great carved lion here,

which we've seen in WUrzburg, as well.

Most of the action takes place just on
the front, you know, the prow of the ship.

We're gonna move the steering wheel.
It's right at the front.

It's not quite installed yet.

This is about...
We're about 10 days away from shooting.

When Paul and I were discussing
how the look of these airships would be,

we took, basically, a galleon of the period
and we modified it slightly

and suspended it
under a much larger balloon.

Because Paul's vision was like a Death Star
coming across. The first time we see it,

looming over the building,
it had to be some massive thing.

We take liberties, big time, big liberties
with gravity and physics, but anyway...

But as I was doing my research, I found
a reference of a gun much like that,

with the revolving mini-mortars
or mini-canons.

As we were on a ship, or an airship,
I was thinking about the crow's nest.

You know, that's sort of a crow's nest,
which is usually on the top of the mast.

I thought, well, sometimes they're
out at the front like this,

and that's kind of where they wanted
the gun for our story point,

so I said,
"Well, why not incorporate them both?"

And it was quite a dynamic thing, you know,
with Luke's character, Aramis,

cranking the handle like this
and the guns slowly swiveling around it,

and every time it gets to the direction
he's ready to fire,

it clicks and an explosion goes.
It was a great find.

And then, of course, we had
the flamethrower, as well,

which was another scripted weapon.

Since it's spitting fire,
we've got a dragon's head on it.

And, you know, we'd already done
some scenes earlier in the movie

with bellows for blacksmiths,
so we thought,

"Well, why not incorporate bellows?"
So when the handles crank,

these bellows pump up and down, and in
theory, pump the fluid or whatever mixture

and out spits a flame. And the special
effects guys did a huge flame

that, you know, goes almost out
to that flag over there.

And it actually caught the...
There was a crane arm out here one day,

covered in protective fabric,
and the flames caught the fabric on fire

and after the take was over, they had to
slowly put it down and put it out.

But it was a lot of fun.
We could have a lot of fun with it.

Because the movie is a very stylized,
fun, comic book kind of movie,

we got to have more fun
than the normal period drama, per se.

Of course, being a servant of God,
you have no need for such crude devices.

(CHUCKLES)

King James is most eager
to hear your peace proposal.

- Lord Buckingham.
- Anne.

Your Majesty.

I must say your beauty is far more radiant
than I remember.

You've met before?

A long time ago.

An evening I shall cherish forever.

Right. Well, shall we?

Now this is a pleasant surprise.

Another acquaintance of yours, I see.

We've met, yes.

As I recall, last I saw you,
you were on your knees as well.

Most unfortunate habit.

It's a habit I shall have to break
during our next encounter.

I look forward to it.

In the meantime, shall we talk peace?

(smamwe)

You must pass me the name
of your interior decorator.

Wine?

I don't drink.

I get to be a caddish, rakish rogue.

Don't worry.

It isn't fatal.

Although I suspect
a part of you wishes it was.

ANDERSON". When we were talking about
doing The Three Musketeers,

I said to Jeremy, "We must have
Orlando Bloom in this movie."

We went to go and have a cup
of tea with Orlando in London,

and I talked to him about it,
and, of course, he loved it.

I think this is really the first proper manly
role that people will have seen him in.

And it's really fantastic.

BLOOM: I get to be a baddy without being
the obvious, out-and-out baddy,

the arch enemy.
That was what drew me to it.

I just knew that it was going to be
a lot of fun,

and that it was going to be
great entertainment.

I like it. I like it.

BLOOM: Buckingham sort of comes in
and has these moments

with all the key characters
and stirs it up, and then leaves.

BUCKINGHAM: Telling him you loved him
right before you betrayed him.

I must say, that was cruel.

BLOOM: He was the wealthiest courtier
of his king's reign.

So he's kind of like a big, spoilt brat.
And he's kind of a bit of a rock star.

BUCKINGHAM: We shall have
to be ready for him.

Won't we?

BLOOM: When we were talking, Paul was like,
"I want you to think of David Bowie.

"I want you to think of Jim Morrison,
and Mick Jagger

"and those kind of cool rock stars."

As I recall, last I saw you,
you were on your knees as well.

Most unfortunate habit.

BLOOM: We had a great rehearsal period.

And I had already kind of done some work
on the character's voice, the movement.

And then I got into my costume and found
that that was doing most of it for me.

(LAUGHING) So it was like,
just don't make a mess of it.

When you have costumes like I have

the only thing you have to make sure
you don't do is ruin it.

Orlando is a fantastic man. But also
he was very engaged with the movie.

He loved the role he was playing.
He loved the costumes he was wearing.

The bad guys really get to have all
the fun, so I'm enjoying myself.

Yeah.

What about that rather nice bottle of
Bordeaux in your middle left-hand drawer?

You must pass me the name
of your spy in the palace.

And yours in mine.

England cannot afford a war on two fronts.

Both our nations
are stretched to breaking point.

A peace treaty would be
of immense strategic advantage.

Whose advantage? Yours?

Ours.

I have a feeling my new war machines
will readdress the balance.

Very impressive.

CAPTAIN: And march!
Left, left, left, right, left!

Well, it's the actual stab,
because I never know where he is.

Okay, well, then, maybe what we'll do
is just back it up like a second,

so you can start, and then the second piece
will begin with a stab,

perfectly lined up for it.

I love to do my own stunts,

and that's something
that I'm very well-known for

and something my fans love
about watching my movies.

- Should we start from the top?
- Thanks. Again.

JOVOVICH: I have one major action sequence.

My character is fighting
like eight or ten guards.

It's a lot of sword work, which I love.

POWELL: Milla's done so much fighting work

that I think it's pretty much
second nature to her.

She came in, she handles a sword
really well, which is...

I expected that she handles a sword well,
just because of what she's done before.

We showed her the choreography
for the fight,

and there's a move where she has to
jump over the back of a guy

and sort of spin in the air, and, you know,
we were gonna do it with a stunt double.

And she said, "Oh, let me try it."
She did it, like, 10 times

just in rehearsal,
with just a small mat on the ground,

no wires, no nothing,
and she just did it straight away.

JOVOVICH: The difficulty was
doing it in a big dress.

I don't think anyone's ever done an action
sequence in these kind of huge skirts

and corsets and stuff.
It was a lot of fun shooting it.

That's it.

D'ARTAGNAN: Constance! Constance!
Hey, hey, excuse me!

Pardon, Your Majesty.

This will only take a moment.

What are you doing here?

His Majesty wants a word with me.
Imagine that.

Yes, lovely. Now, excuse me.

I was...

I was thinking, after I'm finished
with His Majesty, maybe we could talk?

I can't. I have plans.

D'ARTAG NAN: What about tomorrow?

I have a lot of plans.

- Well, I...
- Look, D'Artagnan.

You may have a new set of clothes
and the King's favor,

but you still act like
a clumsy country boy.

Now excuse me.

(WOMEN CHUCKLING)

CAPTAIN; And halt!

About face!

And march!

Left! Left, right, left!

D'ARTAGNAN: Two summons in two days.
Your Majesty honors me.

LOUIS XIII: Cut it out.
Please, think nothing of it.

You're a good fellow, D'Artagnan.

So, how are the ladies
treating you these days?

- Can't complain.
- Yes, indeed.

Well, same here, of course. Thing is...

I've got this friend.

Just a regular chap, like you and me.

He got married very young.

Political alliance, arranged marriage,
you know the sort of thing.

Hardly knew the girl.

- But he likes her?
- Oh, yes.

Mmm-hmm.

Very much.

Well, does she like him?

Well, funny you should say that.
That's the problem.

He's... He's not sure.

(smamwe)

Well, he just feels like a fool
when he's around her.

He's always saying the wrong thing.
His palms are sweating.

His heart's pumping so loud
he's afraid she might hear it.

It's torture just to look at her.

- Have you ever felt this way?
- Not until recently.

So, what do we do?
I mean, my friend. What does he do?

He should speak his heart.

Be someone who cares for her
and isn't afraid to show it.

Be himself.

Well, that's what I told him.

Well, then he's doubly lucky.

After all, he does have
Your Majesty as a friend.

Yes. Yes. It's good to have friends.

Will you excuse me just for one moment?

I don't believe it.

(CLEARING THROAT)

How are you?

Very well.

I'm wearing blue.

And you look very handsome in it.

(CHUCKLES SELF-CONSCIOUSLY)

Thank you. Yes, I...
You're looking just very lovely.

In fact, I was only just remarking
to D'Artagnan how...

How beautiful you are.

Thank you, My Lord.

(SPRAYING)

RICHELIEU: How did it go?
MILADY: Clockwork.

RICHELIEUI Good.

You'll go back to London
with Buckingham and the diamonds.

MILADY: And what should I do with them?

Put them in his personal vault,
the most secure location in all of England.

- The Tower of London.
- Yup.

When the scandal breaks,
he'll deny everything.

But once the diamonds
are discovered in his possession...

He would have led England to war
through his indiscretion.

And what of the future of France?

I am France.

One last thing.

I suppose it's quite easy,
perhaps even tempting,

for a double agent to play both sides.

Have I given Your Eminence
any reason to doubt my loyalty?

Spare me the rhetoric.

I know who you are. I know what you are.

You have a gift for corruption
and a penchant for betrayal.

I admire such skills.

But I'll destroy you the moment I suspect

you might be using them against me.

Do we understand one another?

There

is another side to that coin.

It's quite easy for an employer
to sever all ties with his operative,

in the event that they are compromised,
leaving them to

rot in jail or on the gallows.

Your point being?

I require a guarantee
that I shall not suffer a similar fate.

An insurance policy, if you will.

- My word should suffice.
-(SCOFFS)

I'm afraid I'll need something a bit more

substantial.

(RICHELIEU'S VOICE) "It is by my order
and for the good of the State

"that the bearer of this
has done what has been done."

Satisfied?

Immensely.

Your Majesty.

Purple?

Fashion favors the bold.

Here.

Try this for size.

Oh, well.

Do give my regards to the Queen.

I will convey your diplomatic proposal
to King James immediately.

Cardinal Richelieu, a pleasure.

All mine.

Your Eminence.

LO U IS XI I l: Richelieu!

Richelieu!

There has been
the most distressing development.

Certain letters,

love letters, were discovered
in the Queen's possession.

Letters from him.

Buckingham, of course! Who else?

Have you spoken to the Queen
about these letters?

No. Of course I haven't.
She'll just deny the whole thing!

Hmm.

I can see Your Majesty's dilemma.

Is there any mention
of a specific encounter? A detail?

- A token of affection, perhaps?
- Yes.

Yes, there is.

A necklace. The one I gave her
for our anniversary. Here.

"I shall always cherish
the 12 studded diamonds you gave me,

"the proof of our consummated love."

Does "consummated" mean
what I think it means?

Yes, I'm afraid it does.

Oh, my God!

All Your Majesty has to do is throw a ball.

What? How would that help?

It would give Your Majesty the pretext
to suggest to the Queen

that she wear your gift.

Oh, Richelieu, that's very clever.
That's very clever.

So, if she has the diamonds...

Your Majesty can rest easy.

And if she doesn't?

He wants to have a celebration ball,
five days from now.

Send my diamonds to the jeweler's
to be polished.

I want the King's undivided attention
that evening.

I hope I am not interrupting.

Hardly, Your Majesty. To what do I owe...

I know.

Perhaps Your Majesty
would care to be a bit more specific?

I know.

Yeah.

I assume this is the part
where I'm supposed to laugh maniacally

and regale Your Majesty with the details
of some diabolical plot.

However, I regret to inform Your Majesty

that I have no idea of
what you're talking about.

I thought you'd say that.

Then why did you grace me
with the honor of your visit?

To look into your eyes when you said it.

- Your Majesty.
-(SOBBING)

All may not be lost yet.

(BANGING ON DOOR)

P LAN CH ET: Coming!

MAN: Here we go!

Background, action!

EVANS". What's brilliant about this is that
we're bringing 21st century technology

to a 400-year-old story.

ALL: One for all.

Now, that's clever.
That's very, very clever.

And what you have is a director

who has worked with this technology
very successfully.

Gentlemen of the acting department,
you are now in fabulous 3D.

Very nice.

And he's bringing it to a story

that you wouldn't necessarily think
3D would work with.

MAN: Three, two, one. Go!

JOVOVICH: No one's ever done
a historical piece in 3D.

It suits itself so much for the period,

the rich nature of the backdrop
of this book really lends itself,

and it's just like walking
into a storybook.

Playback!

ANDERSON: This was my second 3D movie,

so, really, the last Resident Evil film,
Resident Evil: Afterlife,

I learned a huge amount about 3D
and about visual effects in 3D,

and we chose, deliberately,
to use almost the same team

behind the camera
as we did on Resident Evil

because I'd built up a team that I trusted,
we'd all learnt together,

and I wanted to take advantage of that
for Three Musketeers.

So, it was the same cameraman,
Glen MacPherson,

it was the same camera team,

we brought them all over
to Germany with us.

It was the same visual effects company,
Dennis Berardi's Mr. X.

So, we'd already established
a 3D pipeline for visual effects,

so it flowed straight
from one movie into another.

ANDERSON: Still rolling, guys.

MAN: Camera speed.

Ready, steady, 90!

(ANDERSON EXCLAIMS APPROVINGLY)

Nice.

ANDERSON: You can't just tack 3D on.

For me, 3D needs to be
in the genetic structure of a movie.

Everything has to be
thought about as a 3D film,

in the same way that,

if you make a color film,
you think about the colors.

We start by writing a script
that is a 3D script,

that has action set pieces in it,

and descriptions of places that think about
the depth that 3D likes and loves.

And then we design sets
that emphasize the 3D.

I choose locations that work well in 3D.

It is more difficult to shoot
an action movie in 3D

because you are actually unable to use
some of the tricks of action directors,

which is fast cutting.

In 3D, if you cut quickly,
you'll make the audience dizzy,

you'll give them, literally,
a kind of sea sickness,

so you have to hold shots longer.

The choreography has to be quite specific

because you can cheat much less on 3D.

Bang, and just as... There you go.
Straightaway, so as soon as...

So, it's out and then... Yeah.

This is the first 3D movie that I've done,

and it was really interesting
seeing the camera tests...

Just point the swords at the camera.

POWELL: ...because the field of depth
is so different from a normal movie.

There's a lot of the cheats
that you can do in stunt work and fights

that you can't do on this

because the camera
is actually seeing into the field.

Where a sword would normally
be able to be quite a way away,

here, it has to be closer,

otherwise the audience
can actually see that it's not that close.

So, we had to change
some of the choreography

specifically for the 3D.

One of the things we did, both on
Resident Evil and on Three Musketeers,

is, a lot of the big action, we pre-vised,

which is like doing the movie
as a little animated film beforehand.

And those animatics would be in 3D as well,

so we could see the strength
of the 3D effect.

And you'll be shocked at
how close the finished film is

to those little animated movies.

BLOOM: I mean, when you see my airship
come out, it's gonna look fantastic in 3D.

It lends itself so perfectly
for this kind of a movie.

- That is...brilliant.
-(CHUCKLING)

BLOOM: I can see how
Paul is thinking about things.

He's seeing things as they really come
towards the audience.

JOVOVICH: It takes a lot of time
to get everything right,

so, as an actor,
you just want to keep going,

and there's all these pauses
and there's all these stops,

so it's kind of a stop-go-stop-go process.

Reset and go again, please.

But, at the same time,
the end result is so magnificent

and so beautiful that
it really is worth it.

I'm sure there was a method to the madness.

Actually, for an actor,
I'd say it's easier,

because you can see the digital playbacks,

you can see everything
in pretty great quality

right after you shoot it.

And, cut!

LERMAN: It's pretty helpful to
see precisely what you're filming.

ANDERSON: 3D, for me,
is a major paradigm shift in cinema,

and that's what makes making movies,
especially now, very exciting.

'Cause, I feel, 3D is very much
a natural progression for cinema.

It's like when cinema went
from silent movies to talkies,

or went from black and white
to color photography.

I think, going from two dimensions to three
is just the next natural progression.

And I'm very excited to be working
on the cutting edge of that.

MAN: Cut!

P LAN C H ET: Coming! Hold your horses!

It's not a matter of
life or death, you know?

Actually, it is.

You want me to go to England,

retrieve the diamonds,
which the Queen suspects

might be in Buckingham's possession,

which will naturally involve breaking into
some heavily fortified,

highly impregnable facility?

The Tower of London.

Since the Cardinal's spies
are trying to implicate the Duke,

it is the most logical choice.

Then return to Paris
with every soldier, assassin,

mercenary, bounty hunter,

on both sides of the Channel
out to stop me from doing so.

Did I miss anything?

All in five days.

A minor detail. Anything else?

No.

Well, I really only have
one question for you.

Why in the world would I do that?

England it is.

D'ARTAGNAN: Diamonds, Buckingham,
Tower of London, five days,

Queen's reputation
and the fate of France as we know it.

Who's with me?

Well, I should imagine
the Queen would be quite generous.

Count Porthos. Hmm? What do you think?
Got a nice ring to it, doesn't it?

Besides, I hear the English women are a
lot like a frosted bottle of champagne.

Ice on the outside,
but once you warm them up...

This isn't a great cause,
but it'll have to do.

Buckingham's there, so is she.

Who?

Countess de Winter.

Charlotte Backson.

Anne de Breuil. Lady Clarick.

Milady.

Milady?

I know her. I saw her with Rochefort.

PORTHOS: She's switched sides again.

She's working for the Cardinal, no doubt.

What are you going to do if you catch her?

ROCHEFORT: Musketeers, open up
and surrender by order of the Cardinal!

- You were followed.
- It's Rochefort.

Athos, Porthos, Aramis and D'Artagnan,

surrender your weapons
and no harm will come to you.

The moment they step out,

kill them.

Light the torches!

I'll count to five, then
we'll burn you out!

Qne!

Two !

Three!

Oh! Sorry! Didn't see you there.

- JUSSAC: Damn you!
-(LAUGHS)

JUSSAC: Fire!

RICHELIEU: Let me guess.

You've come to tell me
that the Musketeers are dead,

our plan is proceeding on schedule,

and I have absolutely, positively,
nothing to worry about.

We were taken by surprise, Your Eminence.

Somehow I was laboring
under the assumption

that the plan was for you
to take them by surprise.

- Was it not?
- Eminence...

Yes, you are quite fond of that word,
aren't you?

Sadly, repeating it
doesn't get you into my good graces.

Alert Milady. Watch the ports.

No one is to leave for England
without my official permission.

Post a bounty on their heads.

The bigger, the better.

Yes, Your Eminence.

Rochefort.

Do not fail me again.

ARAMIS: Jussac and a lot of help.
There's no way past.

How the hell did he get here so fast?

D'ARTAGNAN: Now what?
ATHOS: We need a distraction.

- I'll go.
- I'll go.

I could go.

Probably not.

Wrong.

Wrong on all counts.
You'll need every sword where you're going.

I can't help you there, but I can help.

Right here, right now.

- If they catch you...
- They won't.

- If they catch you...
- I'm the Queen's lady-in-waiting.

You, on the other hand,
are a wanted fugitive,

and about to steal
from the most powerful man in England.

Which one of us should be worried?

Go.

Go so that you can come back.

Now give me that hat.

D'Artagnan!

Get after him!

Wait!

ATHOS: The diamonds will be
in Buckingham's personal vault,

located in the lowest, most secure level
of the Tower, next to the crown jewels.

The lock is state of the art.

It requires a key that Buckingham
carries on his person at all times.

Corridor leading up to it is booby-trapped.

Oh, I'm glad that's straightforward.

Tempt anyone
with some bread and cheese, if you...

You hadn't finished the briefing, actually.
I'm so sorry.

Please don't tell me off.

ATHOS: Then it gets worse, a lot worse.

We have to cross three stone walls
and a moat.

And there's just a couple of hundred
highly trained soldiers

with a predilection for not being robbed.

Although, since Buckingham undoubtedly
knows we're coming, thanks to Milady,

that number is likely to be greater.

that number is likely to be greater.

UARTAGNAN: And why can't we just tell
Buckingham Milady is plotting against him?

ATHOS: Because he wouldn't believe us.
Why should he? We're his sworn enemies.

What we have behind us here
is Buckingham's office.

And this is in the Tower of London,
so it's very British.

We've got oak wood paneling. He loves
his war machine and warmongering,

so basically, Paul and I decided that
all he has in his office for decoration

is pieces of history of war and guns
and weapons and things like that.

He's the one who brings over
the first airship.

I mean, he's forward-thinking
in his weaponry and everything.

So, what we have here, we have a...
Well, it's empty at the moment,

but this is a secret chamber with...

It's like James Bond,
where they open the secret panel

and there's all these crazy guns.

I mean, there's amazing, crazy weapons
without us thinking of them.

They've been made already, and we just
had to find them and rent them.

So, there's a big selection
that'll be here.

Basically, Buckingham will be sitting
beside his desk,

and later on the airship appears behind
these windows and blasts the whole place,

and there's a mess of explosions
and debris flying everywhere in here.

So, right now, we're before destruction.
There's a few scenes before.

We have to go away for a while,

for the Special Effects Department to
squib all the walls and change the floors

and we blow huge pieces out of the walls
and all the glass will break.

It's a very large destruction scene.

The Tower of London, it's a gloomy castle,
so we want to keep that dark, gloomy,

damp feeling of London. They've come from
these amazing gilded palaces in France,

and they've come over to the dark
stone castle, with the dark wooden walls

and paneling.
It's supposed to feel very different.

They've come to a different country, and
we've just accentuated that a little bit.

One of his preferred methods
is getting captured by the opposition.

All the more reason
to take none of them alive.

One more thing.

They may try and drive a wedge between us.

Claim to have secret information

about some plot to get us
to turn against one another,

like, say, I'm a double agent
working for the Cardinal

or you're looking to get rid of me.

I assure you,
nothing could be further from the truth.

-(GASPS)
- Although,

I suppose I should

search you for concealed weapons.

That's how it's done.

And that's exactly what she'll expect.

So we do the unexpected.

We go in broad daylight.
One man, hiding in plain sight.

With all the extra security, there'll be
a lot of new faces, that's their weakness.

And you, D'Artagnan, you're the wild card.

We are the decoys.

Now we'll try and create a distraction,
keep them occupied,

keep them away from you
as much as possible,

but, ultimately, it's down to you.

You wanted to be a Musketeer?

You want to serve France?

This is your chance.

COMMANDER: Left, left,
right, left, right, left!

I thought you saw the signal!

I saw you waving like an idiot!

See, you did it to one side,
I wanted it flat at the front,

so it's like, literally, half moon.

- You know what I mean?
- Yeah, I think that'll be very funny.

ANDERSON". A lot of people say, you know,
it's a big change of pace

doing a period movie after having done
so many science fiction films.

And, really, I don't see
it as that different.

If you think about it,
in a science fiction movie,

it's creating a world,

and that's exactly what
period movie-making is.

Everyone has to wear a costume...

I mean, you have to create that world.

Yeah, that's funny. That's good. I like it.

We've got these beautiful costumes

made by Pierre-Yves Gayraud,
who is the costume designer.

And his gang are just fantastic.
Really exquisite.

ANDERSON". Pierre-Yves is a genius,
there's no doubt about it.

And he's definitely the one
authentic French thing in the movie.

New suits all around, I think.

Normally, it was 17th century,
but we mixed a lot of different styles.

I think we produced, maybe, 400 costumes
for the movie.

ANDERSON: He built costumes
that were true to the 17th century,

but altered slightly.

I didn't want to go for total realism,

I wanted to go for a hyper-real look.

Because, if you look at
real clothing from that period,

the idea is good,

but, sometimes, the end result can be
less than flattering for your actors.

And there's really a danger

that the costumes end up
overwhelming the actors.

So, one of the main things we did was,
we stuck true to the look,

but Pierre-Yves altered
the cut of everything.

So, he tapered the trousers in a little
more, he took volume out, basically.

I think all I need to do is tailor it in
like that, and then it will be great.

Just take some of the volume out of it.

He wanted a rock attitude for the costume,

especially for Milady and the Musketeers.

And that's why our Musketeers
feel a little different,

and a little sexier, I think,
than most Musketeers.

It's because they have
that rock 'n' roll feel.

It was very much the idea
to do the Doors or the Rolling Stones,

but back in the 17th century.

Well, I want to see them with about...

They need to be fitted like the black ones.

And, of course, with the 3D, we have
to work on the texture and the volume.

And it was a good opportunity
to work on the fabrics.

BLOOM: There's a lot of stuff.

There's gonna be stuff down here,
and jewelry,

and then this is going to have some extras.

It's also something to learn
to be comfortable in, you know.

You're either wearing the costume
or the costume is wearing you.

Fashion favors the bold.

It does help you.
You become a different person,

you have a different posture
and you walk differently,

and you can much easily identify
with the morale of the time.

The walking
and the actual way I hold myself,

is actually a lot down to the costume,
I think.

It holds you in such a place
that you can't slouch

and your heels
keep you an extra two inches up,

so, I constantly feel like I'm six-foot.
It's rather wonderful.

Costumes are a running idea in the film.

The King is very much into fashion.

What of Buckingham?

Majesty?

Well, what's he wearing these days?

BOLT: Buckingham is like a fashion icon,

so we have an ongoing fun with the
idea of fashion in the 17th century.

Love the outfit.

Very retro.

We were all wearing those in London,

when was it, last year or the year before?

When you get in the costume,
you immediately feel different

and, kind of, like your character,

because you have to stand differently
and move differently

and you're in pain in weird places and
stuff, and you feel what it was like.

We wear the corsets
every day that we're shooting

and it's not fun. You
know, it's definitely...

It makes you very happy,
at the end of the day,

when you get to put on
your normal clothes.

And it makes you very much appreciate
being a modern female

living in the 21st century.

(LAUGHING)

- ANDERSON: Thank you very much.
-(GASPS MOCKINGLY)

I come in to work and I see the other guys

and they all look amazing.

Their jackets are cut and tailored
to their rippling bodies,

the hair is slicked back,
there's leather and open shirts.

And then I put this wig on...

And I just look like a fat Bee Gee,
do you know what I mean?

(LAUGHING)

ANDERSON". If you make a period movie,

every extra has to have a wig,
every extra has to do makeup,

facial hair, costumes, boots.

It becomes incredibly detailed
and incredibly complex.

It's going to be an incredibly
visually rich movie to watch.

And, I think, enhanced by the 3D,

enhanced by the colors and the forms
of the costumes and everything.

(GASPS)

Ticklish. (EXCLAIMS)

I'm sorry.

No, don't apologize. I
pay for this at home.

Well, that was the bloody signal!

I'm trying to see things
from your point of view,

but, unfortunately,
I can't get my head that far up my ass!

- Up your ass? I'll tell you what...
- Yes!

SERGEANT: That's enough of that!

PORTHOS: Finally, good,
at last, a peace officer!

Now listen, Sergeant,
I would like you to arrest this man!

Arrest me?

You can't arrest me!

Don't you tell me that!
I've lost my prized bantam!

- Bantams? They are rotten!
- They are not rotten!

Sir! The first of the Musketeers
has been arrested!

The game is afoot.

Bring him to me and double the guards.
Double the troops.

Double everything.

Sir!

They'll come to us.

Well, then.

I think Your Lordship
has everything under control.

You won't mind if I don't stay
to see how it all turns out?

- Do you think I might lose?
- On the contrary.

I have no issues with you killing Athos,

but, if it's all the same to you,
I'd rather not watch him die.

Tell me, what's your favorite color?

Red.

Why?

I wanted to see
if you were capable of telling the truth.

Hmm.

As far from here as possible.

Well, well, well.

Look at what the cat dragged in.

So, how's the old Athos, eh?

Still his surly,
insufferable self, I'm sure.

Sending a boy to do a man's job.

I should feel insulted.

Well, what were you after anyway, eh?

Secrets, spies, it's all a game, really.

Although the price of loss,
as you'll come to discover,

is a little bit higher.

What?

No last words?

No insults?

- Pleas for mercy or...
- What time is it?

About 2:00, I'd say.
Why? Are you in a hurry?

Look out of the window.

They weren't the decoys. I was.

Ahhh!

(GUNFIRE CONTINUING)

(MAN SCREAMING)

Permission to come aboard?

Granted.

(consume)

(GRUNTS)

(PANTS)

Athos!

The wonderful thing about fighting
an imaginary opponent, Captain Rochefort,

is that he's always greatly skilled
yet easily defeated.

Eminence.

The pride of victory
without the risk of loss.

I trust you didn't come here to impress me
with your swordsmanship.

No, Your Eminence. I have some good news.

Such as?

So what about the diamonds?
Doesn't Buckingham still have them?

Nope.

Milady likes hedging her bets.

She'd never have taken the chance

we'd actually succeed
in breaking into the vault.

D'ARTAG NAN: So where are they now?

ATHOS: With the only person she trusts.

Which means we've lost her
and all this has been for nothing.

I wouldn't say that.

You were the decoy, we were the extraction,

but the real linchpin of the plan, well,

CORDEN: Got the script
and offered the part,

I did that very actor-y thing of
the first time you get it just looking for

your bit. And I was
flicking for ages, like,

was thinking, "Is he even in this film?"
And then there's that, and it's like,

little bits here and there,
and he seemed like a nice character,

and then at the very end,
he sort of saves the day,

so it's always nice. I never thought I'd
get to do something like that in a film.

Tell you what's quite strange, right,
about this,

is when they put these harnesses on
and stuff, they go,

"Look, it's completely safe.
Nothing can go wrong."

And then just as you get to the top,
in the very distance down there,

you can see two ambulances, and you think,

if it's completely safe,
what are they doing here?

Can't be...
There must be a niggle of doubt somewhere.

I think he's supposed to be quite funny
in the film.

Time will tell whether it is or not.

I guess it's supposed to be a little bit
of light relief in amongst

all of the death.

That means a lot,
especially coming from you.

Shut up, Planchet.

Yes, sir.

- Don't.
-(CLICKS)

We took the precaution
of removing the gunpowder.

What now?

You give me the diamonds
or I take them off your corpse.

Dealer's choice.

- Anything else you'd like me to take off?
- Outside.

Boys.

Been a while.

This must be the young Gascon.

We've met before.

Ah, yes.

Small world.

I didn't let Rochefort kill you.

You do remember that, don't you?

(GUN COCKING)

- Did you kill Buckingham?
- No.

- But you will kill me?
- ATHOS: Yes.

You would spare him, but kill me?

Yes. I don't hate Buckingham.

Here.

You may find use for this.

Move.

Amos.

At least she died the way she lived,
on her own terms.

She did it for me.

I wouldn't have been able to live
with myself had I pulled the trigger.

Come on, let's go home.

LADY: But I can't get it.

LADY 2: How marvelous!

Oh! So great!

-(CLEARING THROAT)
- Oh!

Your Majesty.

My dear.

You look troubled.

Hardly. Your Majesty just startled me.

Oh, I'm so sorry.

I just wanted to drop by

and tell you how much
I was looking forward to tonight.

Should be quite spectacular, you know.
Costumes, fireworks and such.

But you,

you shall be
the most spectacular sight of all.

And especially since
you'll wear the diamonds.

You will wear them, won't you?

Well, it's very important
to me that you do.

Then I shall wear them, Your Majesty.

Until tonight, then.

She promised she'll wear them.

You do think she'll wear them,
don't you, Richelieu?

I'm sure she will, Your Majesty.

I'm sure she will.

I'm not a big fan of green screen.

I would rather build as much of a real set
as possible.

It gives the actors more to interact with,

and it also makes the finished
visual effects more realistic.

My least-favorite shot would always be

an actor just standing
in front of a green screen,

because then, the only reality in the shot
is the actor,

and everything else is
completely synthetic.

My favorite kind of visual effects shot
is where the actor's real,

the floor he or she is standing on is real,
the background is real,

the kind of distant background is real,

and then in the distant, distant background
there's a green screen.

So even after there's a visual effect
incorporated into it,

you're still looking at an image that is
80% reality and just 20% synthetic.

Because I think if you do that, then that 20%
synthetic is really easy to sell as real.

If you turned over your left shoulder. Yeah.
'Cause then it's a better eye line to him,

and also, he'll... He probably won't be
able to hear you, but he'll at least know.

And I think, also, the first comment, as
well, about, "Now we have their attention,"

should be directed back to him, as well.
Yeah.

And that way we're keeping your good eye
to camera.

So, they are undoubtedly my favorite set
that I've ever had built

in all the movies I've made.

These fantastic, three-story, huge ships
were wonderful

and a lot of effort and time and money
went into them.

And it would have been a lot easier just to
have actors standing against a green screen

and then put the ships in digitally.
But I felt that would really lack

the authenticity of having, like,
these really big sets

that we could then
do digital enhancement to.

So we went for it, and we built these giant
ships that were very difficult to film on

because, you know, when your actors
are standing on the ship

at like 40 feet in the air
and you have to get the camera up there,

and you have to get the actors up there.

And then also, just to sell the reality
that they're on a ship,

you have to have wind machines going
all the time and movement all the time,

so they were tough sets to film on.

But I think from the first
day to the last day,

every actor loved being up there,
because they were just so damned exciting.

He'll shoot us down
the moment he has the diamonds.

We can't outrun them.

And we can't fight them, damn it! We can't.

- Oh, D'Artagnan.
- What?

Do you think
you have the monopoly on loss?

What if she dies?

The life of one woman
or the future of France,

what would you do
if you were in my position?

ATHOS: I've made a lot of sacrifices,
a lot of hard choices.

For honor, for King, for country.
You wanna know what I've learned, boy?

Hard choices and sacrifices
do not keep you warm at night.

Life is too damn short and too damn long
to go through without someone at your side.

Don't end up like me.

Choose the woman.
Fight for love, D'Artagnan.

France will take care of itself.

ROCHEFORT: Time's up!

An exchange.

I go aboard your ship with the diamonds,
the girl comes aboard ours.

Once I know she's safe,

I give them to you.

Fine. But I want to see the diamonds first.

Planchet.

Cut her loose.

JUSSAC: Deploy the gangway!
HELMSMAN: Deploy the gangway!

Satisfied?

You never learn, do you?

Fire!

Hard right!

Fire!

Fire!

Good.

I really want you to see this.

Finish them off!

We can't outrun them
and we can't outgun them.

We could try asking them to surrender,
but somehow I don't think it would work.

We hide. In there.

(THUNDER RUMBLING)

HELMSMANI Fire!

GUNNER: Fire!

Lay in a pursuit course!

HELMSMAN: Lay in a pursuit course!

GUNNER: Fire!

He's persistent, I'll give him that!

GUNNER: Fire!

But, sir! We can't go into the storm!

ROCHEFORT: Anyone?

Anyone else who wants to question orders?

Good.

(THUNDER RUMBLING)

Sir, now might be a good time
to talk about the possibility of a raise?

Shut up, Planchet.

Yes, sir.

I've always been attracted
to The Three Musketeers.

I've always loved those kind of
swashbuckling films,

and it's a kind of film
I've always wanted to make.

It's a real passion of mine
and it has been for a long time.

And also, for me, it was exciting to kind
of tell a story of The Three Musketeers

in a way that it hadn't been told before.

I grew up watching the Richard Lester
version of The Three Musketeers,

which I love, but D'Artagnan had to be
in his mid-30s,

and in the book he's 18 years old.

So really, it was exciting for us
to kind of make a movie

where D'Artagnan really
was the correct age.

I think it's probably the first time
D'Artagnan's been played by a teenager,

with Logan Lerman.

And I think young men
are going to be really excited

to see a young, swashbuckling, brilliant,
fabulous, kick-ass D'Artagnan.

ANDERSON: It's probably the first time,
for a mainstream American movie, anyway,

to kind of portray the architecture
and the feel of France as it really was.

So, I think in many ways,

although we take some departures
from The Three Musketeers,

we also tell a story that visually
is very, very true to Dumas' book.

It's like Shakespeare. You've seen
Shakespeare over and over again,

but you never see the same performance.
That's what's important about this film

is that, you know, it's a brilliant story,
it's lasted a very long time,

and it deserves to be told again.

The movie's always fascinated
generations of storytellers

because it's got, just, big themes,
like big, universal themes

that everyone, wherever you're from,
can identify with.

And this is such a fresh take on it.
It's a very modernized version of it.

JOVOVICH: I think every generation deserves
its own telling of this classical tale

of friendship, and loyalty, and honor,
andlove,

and betrayal, and intrigue.

Then we get to his POV shot
and see all the guys...

And then he comes in.

- Then he can come into shot.
- Okay.

Men get to be men and women get to
be women, and it's something that anyone,

any age group, can go and enjoy
a movie like The Three Musketeers.

One of the producers, Jeremy Bolt, was
saying nowadays, people are so involved

in the cyber world,
in the virtual reality world of games

and interaction, all that sort of stuff,

that that's where, essentially, they're
having their adventures and everything,

but they're sat in their house.

And in some way, seeing a tale like this
is saying, "You know, the world is yours,

"and there are still
adventures to be had,"

and to go and experience
life and to live it.

- Cut. Check the gates.
- WOMAN: And cut.

Captain Rochefort!

Oh, well.

(MEN SHOUTING)

Drop the ballast!

Drop everything!

And fire up the burners!

Over the side!

Drop those barrels!

Faster! Move!

Shall we?

Hold on!

Get out of the way!

Go! Run!

(MEN GRUNTING)

(GROANING)

(MEN BATTLING)

(CHUCKLES)

I still have the diamonds.
What do you propose to do about that?

Kill you.

If you insist.

So, I put this one in and kick him over.

But he makes it, the little bastard.

- So when Don lands...
- He would be landing right there.

...he should land right here.

- Okay.
- That's the idea.

Let's back the fight up
so we start right there.

Mads and Logan trained more than
anyone else for the movie,

for this climactic swordfight.

We had stunt doubles for both of them,
and I have to, you know, admit

I was thinking as the filmmaker, you know,
we'll get some close-ups of Mads and Logan

but, you know, all the wide shots
and all the big camera crane moves

will all be the stunt doubles.
There are no stunt doubles in the movie.

We ended up using Mads and Logan
for almost everything

because they were just so good.

It's getting dangerous now,
you're getting to the edge.

So then it moves a little onto here
in the last part.

- And he slides down here.
- Yee-haw!

- Does that work with that?
- Perfect.

MIKKELSEN: This is a very
specific technique.

It's a different sword than the ones
I've used to work with.

It's a very different and
difficult technique.

Everything is in the
wrist, very small details.

So we've been working really hard
to not only make it right,

but also make it look a little more
than just nothing.

This fight scene is incredible. They
became, both of them, very good swordsmen.

They're using real metal swords.

So, you get hit with one of these things,
it hurts.

And you can see when the blades meet,

there are actual sparks
coming off the blades.

I think people may think in the movie
it's some kind of visual effect

where we add sparks.
That just happens for real

when these two incredibly sharp pieces
of metal impact at high speed.

(MOCK HOWLING)

Nice stuff.

(CRYING OUT)

You should've stayed in Gascony, boy.

You should've apologized to my horse.

(TUNING VIOLINS)

All right, here we go.

ANDERSON: Yes, The Three Musketeers
is set in France

but the interesting thing about Bavaria

is that a lot of the castles and palaces
that were built there

were built at a time when it was very
fashionable to emulate French architecture,

and also Italian architecture.
And the opening of our version

of The Three Musketeers takes place in
Venice, and then the action shifts to Paris.

So in a way, Bavaria was perfect,
because it had a fantastic mix

of Italian and French architecture.
So for me, it was very exciting.

And also, it was very exciting because
really, in all the previous versions

of The Three Musketeers, no one had
ever really presented France and Paris.

I know that may seem strange, coming from
a filmmaker who shot his movie in Germany,

but, you know, the architecture
was true French architecture.

And also, what we've been able to do
with visual effects

is really recreate whole chunks of Paris
that have never been seen before.

Notre-Dame Cathedral as it was at the time.

The Louvre as it was at the time.

These fabulous bridges that arched
across the Seine

that had houses built on them,
houses and shops...

You know, these things have never really
been seen in a movie

of The Three Musketeers before,
so it was very exciting

to kind of immerse the audience in
this kind of fantastical environment.

What we chose to do is we took
real locations, and then we adapted them

to our use. For example, we took an
amazing white room in Oberschleissheim,

and we put a map of Europe on the floor,
which fits seamlessly,

but it kind of looks like
it's kind of inlaid into the marble floor.

And this became Richelieu's office
and also his war room.

I would often say to my production
designer, Paul Austerberry,

we'd kind of be in a big room
in Herrenchiemsee or Oberschleissheim,

and I would say, "How much would it cost
to build this, if we built it as a set?"

And he would look at it and he would go,
"You know what,

"not only would you never,
ever be able to afford to build this,

"secondly, the level of detail
and the craftsmanship that exists here

"doesn't exist in the world anymore.
The way these things are carved

"and detailed, no one does that.
That's kind of a lost art."

So really, in a way, you know,
these locations are providing

a kind of glimpse into the reality
of an opulent past

that I think most people
have not seen before.

I would love to.

Well, mind out, you fellows!

D'Artagnan.

Well, well, well.

Looks like you aren't the only one
who gets the girl.

Your Majesty is a natural.

Guess I am.

As a matter of fact,

I think you'll start noticing
a few more changes around here.

Thank you.

For everything.

Any time.

LOUIS XIII: Well, strike up, then!

CONDUCTOR: Your Majesty!

Positions, please, gentlemen!

(ORCHESTRA BEGINS PLAYING)

Well-played.

(CHUCKUNG)

I could use men like you.

I already have a job.

- I'm a drunk.
- I'm independently wealthy.

Thanks, but no.

The day will come
when you'll wish you had said, "Yes."

D'ARTAGNANI Maybe.

But not today.

ALL: All for one!

Has to be, "And all for one."
So when we finish...

- Say that again. So we...
- You start.

- One for all...
- One for all...

- And all for one!
- So we start once it starts to rise.

MACFADYEN: All for one.

ALL: One for all!

I should come in
when your swords are already there.

We then decide, "Okay, one for all."

Maybe we should go, "All for one,"
and then D'Artagnan goes...

And then this sword comes in and we go...

There's a minute of acknowledgment
and then...

One for all.

So you guys are gonna say, "All for
one," and then I'm gonna come in...

You would have thought
they would have got this right before.

Sort of a pinnacle moment of the film.

The whole "All for one, one for all" thing,

you'd have thought
they might have worked on it

perhaps before they were shooting it,
maybe.

Seven months of rehearsals,
you'd have thought at some point

they'd have gone,
"We should probably get this right,

"given it's quite a big moment."

I believe in us.

Till the day I stop believing that,

there are still things in this world
worth fighting and dying for.

All for one!

ALL: And one for all!

ALL: And one for all!

You know, sirs,

I know you can be mean, tough,
foul-tempered bastards,

but sometimes I get the feeling
that deep down you're all...

ALL: Shut up, Planchet!

Yeah, yeah, of course.

Already my arm feels
like it's gonna fall off.

WOMAN: Uh-huh.

So you would prefer without...

I don't know. I just...

Yeah, these trays.
It's the trays. That's so heavy.

- It's really heavy.
- Uh-huh. Yeah.

I'm saying it so that someone will take it.

No, this one's fine. It's that.
That is a really heavy bowl.

- That is heavy.
- Yeah, but these are four kilos of fish,

of lobster already.

What about the ham on the shoulder
and the booze?

- Yeah.
- WOMAN: As you wish.

- I've got it there, yeah.
- Okay.

- The bottle or...
- Yeah, go with the bottle.

There's a bigger bottle coming now.

How about the fish laid over there?

- There!
- That's what I want.

It's so heavy.

Right. Here we go. Rehearsal.

- You are gonna stink.
- You've got flies around your eyes.

- Rehearsal. Everybody, clear.
- That's attractive.

Just when you thought I couldn't
look less attractive in this film.

Just pile him up with a...fish.
My arms are killing me.

Dead arm. Dead arm.

(ALL LAUGHING)

I don't remember this bit in the script,
is the problem.

I don't remember this bit.

Me, neither.

Right. Let's start.
Why don't we just stay with James...

So, what?
I've gotta walk from back there out there?

This is...horse shit.

(ECHOING) In case you're wondering,
this isn't the afterlife.

I'm not dead,

and neither are you.

What?

How did you...

Followed Athos.

We fished you out of the Channel.

- Where are we going?
- To France, of course.

SEAMAN: Sail away!

To get back what's mine
and pay back, with interest.

SEAMAN: Roll ballast!

(SINGING) When we were young
The world seemed so old

Careless and cold

We did what we were told in our lives

When we were young

Had the world by the tail

Good would prevail
Starships would sail

And none of us would fail in this life

Not when you're young

We were drawn to whoever
Could keep us together

And bound by the heavens above

And we tried to survive

Traveling at the speed of love

Whoa-oh-oh, when we were young

When we adored the fabulous

Whoa-oh-oh, when we were young

We were the foolish fearless

Never knowing the cost of what we paid

Letting someone else be strong

Whoa-oh-oh, when we were young

In a moment of grace
A long leap of faith

The still more glorious dawn awaits my life

I'm here with the lovers

I'm here with the lovers

And we burned the bridges
We're crossing over

Just to see the firelight

And the innocent are getting over
Being old tonight

Whoa-oh-oh, when we were young

When everything was what it seemed

Whoa-oh-oh, when we were young

And every day was how we dreamed

Never knowing the cost of what we paid

Letting someone else be strong

Whoa-oh-oh, when we were young

And when you look at yourself tonight

Are you someone you recognize?

You can take back what you've given away

But it must be the last time

Whoa-oh-oh, when we were young

Whoa-oh-oh, when we were young

When we were young

Whoa-oh-oh, when we were young

We didn't know it wouldn't last

Whoa-oh-oh, when we were young