1
00:00:01,168 --> 00:00:02,795
And mark it.
2
00:00:36,620 --> 00:00:37,621
B marker.
3
00:00:37,704 --> 00:00:40,548
We're just excited to be back.
Genuinely, properly,
4
00:00:40,582 --> 00:00:43,711
thinking, "Well, look, everybody loves
it, we know that everybody loves it."
5
00:00:43,794 --> 00:00:45,421
And it's a different feeling,
6
00:00:45,462 --> 00:00:48,090
because the first time we did it,
nobody cared or knew about us.
7
00:00:48,173 --> 00:00:50,551
It was a surprise,
the level of response,
8
00:00:50,634 --> 00:00:54,104
the positive response we got
was a real wonderful surprise,
9
00:00:54,179 --> 00:00:56,978
and just utter confirmation
that the hard work had paid off.
10
00:00:57,057 --> 00:00:58,855
And, yeah, it's been a thrill.
11
00:00:58,934 --> 00:01:01,904
The amount of millions of people
in this country who watched it
12
00:01:01,979 --> 00:01:04,607
and who raved about it, and the amount
of critics who raved about it,
13
00:01:04,690 --> 00:01:06,988
and then internationally
how well it did.
14
00:01:07,067 --> 00:01:09,365
This has become such an enormous
international hit
15
00:01:09,444 --> 00:01:11,037
it's sort of preposterous.
16
00:01:11,113 --> 00:01:15,414
It's our vanity project, it's our hobby,
and everybody's joined in.
17
00:01:15,492 --> 00:01:17,915
It's certainly changed from this series
from the last series.
18
00:01:17,995 --> 00:01:20,464
Last series, nobody really knew
who Benedict was,
19
00:01:20,539 --> 00:01:21,665
he wasn't a household name.
20
00:01:21,748 --> 00:01:23,967
It's a very different world this time.
21
00:01:24,042 --> 00:01:27,171
You know if we 're outside 227,
22
00:01:27,254 --> 00:01:30,474
there 's a whole row of people
just standing there.
23
00:01:30,549 --> 00:01:34,554
Now that I look at Benedict and Martin
capering around on set,
24
00:01:34,636 --> 00:01:37,059
I think, "Those are famous images.
25
00:01:37,139 --> 00:01:40,439
"This room that we're in,
221 B Baker Street, is incredibly famous,
26
00:01:40,517 --> 00:01:44,317
"those two men are now so famous
throughout the world in those roles."
27
00:01:44,396 --> 00:01:46,990
It's a very sudden, very big change.
28
00:01:47,065 --> 00:01:50,820
It's nerve-wracking, when you're a hit,
to keep the quality going,
29
00:01:50,861 --> 00:01:54,582
but I think you therefore try even
harder and push it even further.
30
00:01:54,656 --> 00:01:57,330
We're tackling
the three biggest stories in the canon,
31
00:01:57,409 --> 00:01:59,127
well, the ones that have
the most amount of resonance
32
00:01:59,202 --> 00:02:00,704
when people mention Sherlock Holmes.
33
00:02:00,787 --> 00:02:02,835
Let's do the three big things,
34
00:02:02,914 --> 00:02:07,010
and the three big things are the Hound,
the Woman and the Professor.
35
00:02:07,085 --> 00:02:09,258
It's love, horror and thriller.
36
00:02:17,429 --> 00:02:21,150
In episode one, A Scandal in Belgravia,
37
00:02:21,183 --> 00:02:24,778
we have to finish the swimming pool
scene, obviously.
38
00:02:24,853 --> 00:02:28,608
The last season ended on a cliffhanger;
so nobody knem
39
00:02:28,690 --> 00:02:30,488
Hopefully what we've achieved
is that you're just like, "Oh, my God,"
40
00:02:30,567 --> 00:02:32,035
and then the story moves on
quite quickly.
41
00:02:32,110 --> 00:02:33,908
Say that again!
42
00:02:35,572 --> 00:02:36,744
Say that again
43
00:02:36,782 --> 00:02:38,830
and know that if you're lying to me,
44
00:02:38,909 --> 00:02:43,380
I will find you and I will skin you.
45
00:02:44,623 --> 00:02:48,753
What they want is to have the threat
of Moriarty to remain
46
00:02:48,835 --> 00:02:51,805
for the rest of the series.
47
00:02:55,550 --> 00:02:59,430
In A Scandal in Belgravia, which is
based on A Scandal in Bohemia,
48
00:02:59,513 --> 00:03:03,268
he encounters the only woman
in the original stories
49
00:03:03,350 --> 00:03:05,853
that he really pays
any attention to at all.
50
00:03:05,936 --> 00:03:10,066
Holmes faces one of his deadliest
enemies in the shape of love,
51
00:03:10,148 --> 00:03:12,651
and it comes in the form of Irene Adler,
52
00:03:12,734 --> 00:03:16,113
who's this extraordinary dominatrix,
53
00:03:16,196 --> 00:03:18,824
this incredibly daring
professional woman
54
00:03:18,907 --> 00:03:21,786
who's utterly independent,
fiercely smart
55
00:03:21,868 --> 00:03:23,586
and very resourceful.
56
00:03:23,620 --> 00:03:25,714
Oh, you're rather good.
57
00:03:25,789 --> 00:03:26,961
You're not so bad.
58
00:03:27,708 --> 00:03:31,963
Him meeting a sort of
version of himself
59
00:03:32,045 --> 00:03:34,673
or someone who is his equal.
60
00:03:34,756 --> 00:03:38,056
Steve immediately had this idea
that she should be a dominatrix.
61
00:03:40,137 --> 00:03:41,889
And so that's interesting, doing that,
62
00:03:41,972 --> 00:03:45,647
'cause again you didn't want to
do this cliché of a dominatrix,
63
00:03:45,726 --> 00:03:49,731
didn't want it to be like a sort of Ann
Summers party gone wrong or something.
64
00:03:49,813 --> 00:03:53,568
So we tried our best
to keep it classy and fun.
65
00:03:53,650 --> 00:03:56,904
Well, now, have you been wicked,
Your Highness?
66
00:03:56,987 --> 00:04:00,207
It's not very often you're
standing there in next to nothing
67
00:04:00,282 --> 00:04:04,253
with a leather whip in your hand,
having a go at Benedict Cumberbatch.
68
00:04:04,327 --> 00:04:06,375
Drop it.
69
00:04:06,455 --> 00:04:08,674
I said drop it!
70
00:04:08,749 --> 00:04:12,094
I did say at every opportunity,
"Do you need me to ease off?"
71
00:04:12,169 --> 00:04:14,422
And he was like,
"No, go for it, go for it."
72
00:04:14,463 --> 00:04:17,433
My employer has a problem.
73
00:04:17,507 --> 00:04:19,976
A matter has come to light
of an extremely delicate
74
00:04:20,051 --> 00:04:22,270
and potentially criminal nature
75
00:04:22,345 --> 00:04:25,224
and in this hour of need, dear brother,
76
00:04:25,307 --> 00:04:26,650
your name has arisen.
77
00:04:26,725 --> 00:04:28,898
In the first instance, it's actually
to cover up a royal scandal,
78
00:04:28,977 --> 00:04:32,197
it's to try and put to bed
no pun intended,
79
00:04:32,272 --> 00:04:38,075
some photographs which are salacious
and ruining in their content.
80
00:04:40,530 --> 00:04:43,283
What do you know about this woman?
81
00:04:43,366 --> 00:04:44,868
Irene Adler.
82
00:04:44,951 --> 00:04:48,080
And I assume this Adler woman
has some compromising photographs?
83
00:04:48,163 --> 00:04:51,258
- You're very quick, Mr Holmes
- Hardly a difficult deduction.
84
00:04:51,333 --> 00:04:54,212
Generally, Sherlock knows
he's the cleverest person in the room,
85
00:04:54,294 --> 00:04:57,844
and so when he meets Irene,
he kind of...
86
00:04:57,923 --> 00:05:01,018
He might not be the cleverest person
in the room and that's upsetting.
87
00:05:01,092 --> 00:05:03,845
And they're clearly
absolutely made for each other,
88
00:05:03,929 --> 00:05:06,182
so that's a fascinating thing
to play with.
89
00:05:06,223 --> 00:05:07,475
It's a negative, in his book,
90
00:05:07,557 --> 00:05:10,652
it's something that is basically going
to undermine his ability to do his job,
91
00:05:10,727 --> 00:05:13,196
to concentrate and focus
and apply logic.
92
00:05:13,271 --> 00:05:16,024
I like detective stories.
And detectives.
93
00:05:17,317 --> 00:05:19,194
Brainy is the new sexy.
94
00:05:19,277 --> 00:05:20,324
Position of the car
95
00:05:20,403 --> 00:05:22,451
Uh, the position of the car relative to
the hiker at the time of the backfire,
96
00:05:22,531 --> 00:05:24,204
that and the fact that the death blow
was to the back of the head,
97
00:05:24,282 --> 00:05:25,329
that's all you need to know.
98
00:05:25,408 --> 00:05:26,955
In Hound of the Baskervilles
99
00:05:27,118 --> 00:05:29,166
or, as it has now become,
The Hounds of Baskerville,
100
00:05:29,246 --> 00:05:33,501
he comes face to face with the idea
of real, deranging terror.
101
00:05:33,583 --> 00:05:35,551
Maybe we should just look
for whoever's got a big dog.
102
00:05:35,627 --> 00:05:37,675
- Henry's right
- What?
103
00:05:39,256 --> 00:05:40,974
I saw it, too.
104
00:05:41,049 --> 00:05:44,098
When Sherlock thinks
he has seen a gigantic hound,
105
00:05:44,177 --> 00:05:45,349
then he's really terrified,
106
00:05:45,428 --> 00:05:48,477
because he knows that he can't trust
the evidence of his own eyes.
107
00:05:48,557 --> 00:05:55,315
He is not above that, he's not incapable
of experiencing absolute terror,
108
00:05:55,397 --> 00:05:57,320
and he tries to rationalise it away.
109
00:05:57,399 --> 00:06:01,745
But he goes out on that moor and he
sees the Hound, and he's frightened.
110
00:06:01,820 --> 00:06:04,198
- What?
- I saw it, too, john.
111
00:06:04,281 --> 00:06:08,536
- Just... just a minute. You saw what?
- A hound.
112
00:06:08,618 --> 00:06:10,245
Out there in the Hollow.
113
00:06:11,788 --> 00:06:14,257
A gigantic hound.
114
00:06:14,332 --> 00:06:17,677
It's the most filmed, it's the one that
everyone knows I think the best
115
00:06:17,752 --> 00:06:22,508
and therefore I felt more of
an obligation to include certain things.
116
00:06:22,591 --> 00:06:25,390
There are so many huge, iconic moments
that people expect.
117
00:06:25,468 --> 00:06:28,347
There's a dog, there's fog,
there's Dartmoor,
118
00:06:28,430 --> 00:06:30,933
there's stuff you'd better deliver.
119
00:06:31,016 --> 00:06:34,441
Even the best versions, in the end,
the dog, of course, is a fake.
120
00:06:34,519 --> 00:06:36,362
And I thought,
"Well, I'm not doing that.
121
00:06:36,438 --> 00:06:38,156
"I've got to do something different."
122
00:06:38,231 --> 00:06:40,825
Trying to work that out
almost killed me.
123
00:06:40,901 --> 00:06:43,495
In fact, I took to saying
124
00:06:43,570 --> 00:06:46,323
that Hound wasn't a hound at all,
it was a bitch.
125
00:06:46,406 --> 00:06:49,285
It's based around a military
institution, a military base,
126
00:06:49,367 --> 00:06:51,461
where strange sightings are seen
127
00:06:51,536 --> 00:06:57,634
and memories of things
that didn't quite happen 30 years ago
128
00:06:57,709 --> 00:06:59,336
still kind of haunt people.
129
00:06:59,419 --> 00:07:02,923
There is a Hound. There is...
130
00:07:03,006 --> 00:07:06,601
And it's down to Sherlock to get
to the bottom of what it really is.
131
00:07:06,676 --> 00:07:08,678
And Sherlock, he saw it, too.
132
00:07:08,762 --> 00:07:10,856
No matter what he says.
133
00:07:10,931 --> 00:07:12,524
He saw it.
134
00:07:19,314 --> 00:07:22,534
In the final one,
in The Reichenbach Fall,
135
00:07:22,609 --> 00:07:26,955
it's kind of almost the moment
where he becomes a hero, really.
136
00:07:27,072 --> 00:07:31,828
Up until now he's been this diskquieting,
dangerous, maybe potentially amoral man.
137
00:07:31,910 --> 00:07:33,958
This is the one where
he is faced with Moriarty.
138
00:07:34,037 --> 00:07:36,711
It's a brilliant,
very fast-paced thriller.
139
00:07:36,790 --> 00:07:41,637
ANDREW SCOTT: It starts by Jim
going into the Tower of London,
140
00:07:41,711 --> 00:07:44,260
attempting to steal the Crown jewels,
141
00:07:44,339 --> 00:07:48,219
which was, I have to say, one of the
most fun days of filming I've ever had.
142
00:07:50,512 --> 00:07:56,440
There was a sort of a soundtrack
of classical music in the background,
143
00:07:56,518 --> 00:07:59,442
which I had to sort of dance along to.
144
00:07:59,521 --> 00:08:01,944
Well, I didn't have to. I did.
145
00:08:13,410 --> 00:08:17,916
Moriarty, in a way, is what comes
to define Sherlock Holmes as a hero,
146
00:08:17,998 --> 00:08:19,796
he realises his place in the world.
147
00:08:19,874 --> 00:08:22,093
Ah, Moriarty's smart.
148
00:08:22,168 --> 00:08:24,341
You can't kill an idea, can you?
149
00:08:24,421 --> 00:08:26,344
Not once it's made a home...
150
00:08:26,381 --> 00:08:27,974
there.
151
00:08:32,220 --> 00:08:34,222
We don't think of these as episodes,
152
00:08:34,305 --> 00:08:36,478
we think of them as films,
we think of them as movies,
153
00:08:36,558 --> 00:08:38,526
'cause they're 90 minutes long
154
00:08:38,601 --> 00:08:41,480
and if you just do them
as episodes of a TV series,
155
00:08:41,563 --> 00:08:43,406
they'll seem very slow and very long
156
00:08:43,481 --> 00:08:45,358
They have to have the size
and weight of a movie.
157
00:08:45,442 --> 00:08:48,036
You can do whatever you want
in Sherlock, there's no...
158
00:08:48,111 --> 00:08:51,160
I think we've shown the audience
that you might expect to see anything.
159
00:08:51,239 --> 00:08:53,958
Well, in this one,
it even goes further and further.
160
00:08:54,034 --> 00:08:56,583
Series 2 has still got all
the on-screen text and things like that,
161
00:08:56,661 --> 00:08:59,756
but there's just new ways
of doing things.
162
00:08:59,831 --> 00:09:02,175
- It's the title.
- What does it need a title for?
163
00:09:02,250 --> 00:09:04,344
Yeah, we had
a lot of toys in this one.
164
00:09:04,419 --> 00:09:06,421
We had Phantom cameras,
which are really high-speed cameras
165
00:09:06,504 --> 00:09:09,223
that give you that very, very slow,
slow, slow, slow motion.
166
00:09:09,299 --> 00:09:12,473
You can only shoot
about 17 seconds I think per go,
167
00:09:12,552 --> 00:09:15,305
then the whole thing has to be
calmed down and put in a corner
168
00:09:15,388 --> 00:09:17,891
and given a cup of tea
and then wound up again.
169
00:09:17,974 --> 00:09:21,478
And that was the sequence
where I disarm Nielsen
170
00:09:21,561 --> 00:09:24,986
and clock him on the back of the head,
having opened the safe and it explodes.
171
00:09:25,065 --> 00:09:26,612
Vatican cameos.
172
00:09:29,694 --> 00:09:31,742
And I had to do that incredibly quickly,
173
00:09:31,821 --> 00:09:33,243
but it's all sort of slowed down
174
00:09:33,323 --> 00:09:35,417
with this john Woo effect
and the heads going whoa-whoa.
175
00:09:35,492 --> 00:09:39,713
And I grab hold of the gun, disarm him
and clock 'em all off, all in one move.
176
00:09:39,788 --> 00:09:41,631
That was great fun to do.
177
00:09:41,706 --> 00:09:45,961
Sherlock Series 2, for me,
as a Special Effects Supervisor,
178
00:09:46,044 --> 00:09:48,046
has kept me very busy.
179
00:09:48,838 --> 00:09:51,387
There's a few more bangs,
a few more bullet hits,
180
00:09:51,466 --> 00:09:55,061
a few more atmospherics,
so, yeah, this year is pretty full-on.
181
00:09:59,516 --> 00:10:01,860
- Are we here?
- Two streets away, but this'll do.
182
00:10:01,935 --> 00:10:05,109
I've had a great deal
of fun doing the stunts.
183
00:10:05,188 --> 00:10:08,613
You know, me and Ben
know each other reasonably well now,
184
00:10:08,691 --> 00:10:11,945
so I feel comfortable
doing stuff with him,
185
00:10:12,028 --> 00:10:15,123
and so, yeah, things like
the fight stuff or physical stuff.
186
00:10:15,198 --> 00:10:16,450
Punch me in the face.
187
00:10:16,533 --> 00:10:20,333
But I had to let him punch me, that was
part of the deal this time around.
188
00:10:21,079 --> 00:10:22,080
Punch you?
189
00:10:22,163 --> 00:10:24,416
Yes, punch me in the face.
Didn't you hear me?
190
00:10:24,499 --> 00:10:26,547
I always hear "punch me in the face"
when you're speaking,
191
00:10:26,626 --> 00:10:29,004
- but it's usually subtext.
- Oh, for God's sakes.
192
00:10:29,087 --> 00:10:32,216
There was no way... I was not
going to pass up an opportunity
193
00:10:32,298 --> 00:10:35,427
to even nearly punch Benedict
in the face.
194
00:10:35,510 --> 00:10:37,979
There's no way I was
going to pass that up.
195
00:10:38,054 --> 00:10:40,352
However much the stuntman
might have wanted to get in there,
196
00:10:40,431 --> 00:10:42,479
that's mygig
197
00:10:42,559 --> 00:10:44,561
Punch me in the face.
198
00:10:45,436 --> 00:10:47,234
Punch you?
199
00:10:47,313 --> 00:10:49,361
I said punch me in the face.
Didn't you hear me?
200
00:10:49,440 --> 00:10:51,442
I always hear "punch me in the face"
when you're speaking,
201
00:10:51,526 --> 00:10:53,324
- but it's usually subtext.
- Oh, for God's sakes.
202
00:10:57,157 --> 00:10:59,535
Ow! Ah!
203
00:10:59,617 --> 00:11:01,460
Thank you. That was...
204
00:11:01,536 --> 00:11:04,961
It's the only way that he would
get away with it otherwise.
205
00:11:05,039 --> 00:11:06,416
I think we're done now, john.
206
00:11:06,499 --> 00:11:09,673
You may not remember, Sherlock,
I was a soldier. I killed people.
207
00:11:09,752 --> 00:11:11,846
- You were a doctor!
- I had bad days!
208
00:11:13,590 --> 00:11:17,094
Doing the fall in Reihenbach Fall
was really exciting.
209
00:11:17,177 --> 00:11:19,145
That's me. That's me up on a roof.
210
00:11:19,220 --> 00:11:20,392
That's not me jumping off the roof,
211
00:11:20,471 --> 00:11:22,849
but it's me jumping off a smaller roof
onto a lower roof,
212
00:11:22,932 --> 00:11:26,357
which is about four feet,
and then that cuts to me on a wire,
213
00:11:26,436 --> 00:11:30,316
dropping 70 feet, I think,
onto a massive inflated bag.
214
00:11:33,902 --> 00:11:34,949
Sher...
215
00:11:35,028 --> 00:11:38,453
Fast. Not terminal velocity
but there's a tiny brake on it,
216
00:11:38,531 --> 00:11:39,783
'cause they need to slow you down
before the end
217
00:11:39,866 --> 00:11:42,085
so obviously if they did that
the last bit of it would look weird,
218
00:11:42,160 --> 00:11:43,912
'cause you'd be braking like that.
219
00:11:43,995 --> 00:11:46,123
So this, it's fast,
fast, fast, fast, slow.
220
00:11:48,833 --> 00:11:50,835
But It's pretty bloody fast.
221
00:11:51,794 --> 00:11:53,637
There's a brilliant kind of montage
222
00:11:53,713 --> 00:11:56,967
where Sherlock starts to describe
a murder investigation.
223
00:11:57,050 --> 00:11:59,018
Two men, a car, nobody else.
224
00:11:59,093 --> 00:12:03,189
And basically it was so that Benedict
could take her along with him
225
00:12:03,223 --> 00:12:07,069
and they share this... I guess it's
a part of the love story, if you like.
226
00:12:07,101 --> 00:12:09,445
And the hiker's taking a moment,
looking at the sky.
227
00:12:10,230 --> 00:12:12,107
Watching the birds?
228
00:12:12,190 --> 00:12:14,613
Any moment now, something's
going to happen. What?
229
00:12:14,692 --> 00:12:15,818
The hiker's going to die.
230
00:12:15,860 --> 00:12:20,491
So, Steven had written the scene which
goes between the house and the field
231
00:12:20,573 --> 00:12:22,575
and we wanted the transitions
between the two,
232
00:12:22,659 --> 00:12:26,380
so Paul McGuigan said
to Arwel, the designer,
233
00:12:26,454 --> 00:12:29,674
"I want bits of the room in the field."
234
00:12:30,375 --> 00:12:33,299
ARWEL WYN JONES: We just replicated
the wall of the living room here
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and put it on the side of a road
next to the car, to start with,
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and then in a field,
to help with those transitions,
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and then took it away again.
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Which doesn't sound too complicated,
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until you're talking about
a house of this scale
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where the one wall is four metres high
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by six metres wide,
with a fireplace in it.
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We had this huge bit of wall,
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just wandering down the road,
going into the field,
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and a hydraulic bed,
which just worked perfectly, I think.
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There's a transition from
when he's actually in bed
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and kind of starting to come out
of this dream sequence,
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and he's in the field and then
has to actually appear in bed.
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And Sherlock's getting
really, really tired,
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and then out of nowhere appears a bed.
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Paul, the director,
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talked about having a bed
flipping up into shot.
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I did exactly that and made a bed
on a pneumatic piston,
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which means it's a piston by using air,
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and I press a button
and it flipped the bed.
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Then he picks up a sheet;
then he just lies there,
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and it looks like he's lying down.
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And in the next shot,
we're in Baker Street
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from the exact same shot we matched,
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and we pull up and we see
he's back in Baker Street.
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That was wonderful
because I did that moment
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and in the rehearsal
people were going, "Oh, my God!"
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They were watching, like, ten people
just getting ecstatic about it,
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which is quite a rare thing,
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to get an immediate audience response
on television.
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A lot of times,
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people will just put it down to,
"Well, they've CGI'd that. That's easy."
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Erm, yeah, I'm upstaged by a bed,
an electronic bed. I can't believe it.
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One of the things
that Paul wanted to bring to it
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was the idea that Sherlock Holmes
sees the world in an extraordinary way
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so in a way it's incumbent on us
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to visualise the world
in an extraordinary way,
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like Sherlock Holmes is
behind the camera as well.
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It's one of the best examples
of the camera helping to tell the stow
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of any television I've ever seen,
actually, I think,
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'cause what happens in camera
I think is extraordinary on this show.
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You can show
the scene, a dead body lying there,
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and then suddenly you can do it
from another point of view,
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or several points of view,
and then you can dissect that,
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and you dissect it in a visual way,
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so that you're letting your audience
understand how Sherlock thinks.
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Maybe two ideas.
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And then we looked at
how Sherlock sees things,
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so we use the 5D with the stills images
to go closer into things.
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And then we'll shoot the same scene
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but we'll shoot it from a different
point of view for Sherlock,
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so if he does walk in the room,
we shoot it from his point of view.
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So that the first time
you see the scene, you'd never notice
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that Sherlock's actually
scanning the whole place or looking.
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I know exactly where I'm going.
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Because I didn't want him to be going,
you know,
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having, like, Six Million Dollar Man
vision or something.
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So we just wanted it to feel
very natural to this character,
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and then explain a little bit
about how he does it.
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And also, you know,
Benedict is fantastic
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at just reeling off
these incredible words
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that Steven and Mark have given him.
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00:15:36,310 --> 00:15:38,688
- Can I have a box of matches?
- I'm sorry?
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Or your cigarette lighter,
either will do.
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00:15:40,523 --> 00:15:41,945
- I don't smoke.
- No, I know you don't,
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but your employer does.
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The deductions are... They're fantastic,
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they're sort of show-stoppy pieces.
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They are hell to do because you...
However well you learn them,
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you have to deliver them
faster than you can think.
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00:15:55,204 --> 00:15:56,831
- How?
- The same way that I know
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the victim was an excellent sportsman,
recently returned from foreign travel
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and that the photographs I'm looking for
are in this room.
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Everything just comes out
as one linear thought
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and it's a stream of consciousness,
almost.
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Hmm.
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It's very, very, very hard to deliver,
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and your mind knows the minute
it's used a wrong preposition
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or an incorrect pronoun
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or an utterly wrong name, which has
happened on a couple of occasions.
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00:16:20,521 --> 00:16:22,569
Heaviest oil deposit is always
on the first key used,
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that's quite clearly a three,
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but after that the sequence
is almost impossible to read.
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I'd say from the make
that it's a six-digit code.
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Can't be your birthday, no disrespect,
but clearly you were born in the '80s.
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There's a huge deduction
Sherlock has by the fireside,
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and I just put brackets,
"Sorry, Benedict."
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Because, you know, they're monstrous.
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You want me to prove it, yes?
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We've done some scenes on this episode
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where I just point the camera
at Benedict and I say,
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"OK, there's no pressure,
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"but this six-page monologue,
I want you to do it without any cuts."
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We're looking for a dog, yes? A great
big dog. That's your brilliant theory.
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Cherchez le chien! Good. Excellent. Yes!
Where shall we start?
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How about them?
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He thinks and talks in those moments
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faster than I can talk at my fastest
talking moments, which is quite fast.
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Look at the jumper he's wearing,
hardly worn.
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00:17:08,402 --> 00:17:10,530
Clearly he's uncomfortable in it.
Maybe it's because of the material,
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more likely the hideous pattern.
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Suggests it's a present.
Probably Christmas.
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00:17:13,324 --> 00:17:16,498
Partly because we've committed
this huge heresy of updating it,
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we sort of want to say to everyone
who knows the originals,
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00:17:19,580 --> 00:17:22,254
"Look, everything else
is incredibly authentic.
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00:17:22,333 --> 00:17:24,756
In fact, you'll never see a more
obsessively authentic version
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00:17:24,835 --> 00:17:26,428
of Sherlock Holmes than this one
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because it is being motored
by a couple of geeks.
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There's lots and lots of nods in there
that Steven and Mark wanted,
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and they just get so excited
when they walk around the set
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and they see all these things. "Oh,
look, there's so-and-so, so-and-so."
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00:17:37,765 --> 00:17:40,234
And it's like kids with toys,
it's lovely.
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00:17:40,309 --> 00:17:42,061
Have you got the bartitsu?
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00:17:42,144 --> 00:17:45,398
Erm, yes, now, you really
stitched me up on that one.
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Well, Conan Doyle made it up.
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00:17:47,400 --> 00:17:49,402
When you meet
people like Steven and Mark,
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who kind of know it probably better
than they know their own family,
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that's a whole other level of knowledge
about a writer and their work.
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00:17:57,535 --> 00:18:00,584
This is a man who can
straighten a bent poker.
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00:18:00,621 --> 00:18:03,465
The scale of the stories
means that we are...
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00:18:03,541 --> 00:18:06,670
We've got to the death of
Sherlock Holmes within six episodes,
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00:18:06,752 --> 00:18:11,724
they're big stories, and the big themes
of love and fear and death.
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00:18:11,799 --> 00:18:15,975
We want to see them
going through the fire together.
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00:18:16,053 --> 00:18:18,101
Let me come through, please.
No, he's my friend.
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00:18:18,180 --> 00:18:21,184
And that doesn't mean
that by the end of this
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00:18:21,267 --> 00:18:23,269
they've reached the end
of their possibilities.
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00:18:23,352 --> 00:18:25,480
These are still the formative
years of Sherlock Holmes.
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00:18:25,563 --> 00:18:28,407
The most important thing about
this series is not that it's updated,
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00:18:28,482 --> 00:18:30,530
it's the fact that those two men
are still young
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00:18:30,610 --> 00:18:33,659
and they're still at the beginning
of what they don't yet know
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00:18:33,738 --> 00:18:36,457
is going to be a lifelong partnership.