1 00:00:01,168 --> 00:00:02,784 MAN: And mark it. 2 00:00:36,620 --> 00:00:37,610 B marker. 3 00:00:37,704 --> 00:00:40,537 We're just excited to be back. Genuinely, properly, 4 00:00:40,582 --> 00:00:43,700 thinking, "Well, look, everybody loves it, we know that everybody loves it." 5 00:00:43,794 --> 00:00:45,410 And it's a different feeling, 6 00:00:45,462 --> 00:00:48,079 because the first time we did it, nobody cared or knew about us. 7 00:00:48,173 --> 00:00:50,540 It was a surprise, the level of response, 8 00:00:50,634 --> 00:00:54,093 the positive response we got was a real wonderful surprise, 9 00:00:54,179 --> 00:00:56,967 and just utter confirmation that the hard work had paid off. 10 00:00:57,057 --> 00:00:58,843 And, yeah, it's been a thrill. 11 00:00:58,934 --> 00:01:01,892 The amount of millions of people in this country who watched it 12 00:01:01,979 --> 00:01:04,596 and who raved about it, and the amount of critics who raved about it, 13 00:01:04,690 --> 00:01:06,977 and then internationally how well it did. 14 00:01:07,067 --> 00:01:09,354 This has become such an enormous international hit 15 00:01:09,444 --> 00:01:11,026 it's sort of preposterous. 16 00:01:11,113 --> 00:01:15,402 It's our vanity project, it's our hobby, and everybody's joined in. 17 00:01:15,492 --> 00:01:17,904 It's certainly changed from this series from the last series. 18 00:01:17,995 --> 00:01:20,453 Last series, nobody really knew who Benedict was, 19 00:01:20,539 --> 00:01:21,654 he wasn't a household name. 20 00:01:21,748 --> 00:01:23,955 It's a very different world this time. 21 00:01:24,042 --> 00:01:27,160 You know, if we're outside 221, 22 00:01:27,254 --> 00:01:30,463 there's a whole row of people just standing there. 23 00:01:30,549 --> 00:01:34,543 Now that I look at Benedict and Martin capering around on set, 24 00:01:34,636 --> 00:01:37,048 I think, "Those are famous images. 25 00:01:37,139 --> 00:01:40,427 "This room that we're in, 221 B Baker Street, is incredibly famous, 26 00:01:40,517 --> 00:01:44,306 "those two men are now so famous throughout the world in those roles." 27 00:01:44,396 --> 00:01:46,979 It's a very sudden, very big change. 28 00:01:47,065 --> 00:01:50,808 It's nerve-wracking, when you're a hit, to keep the quality going, 29 00:01:50,861 --> 00:01:54,570 but I think you therefore try even harder and push it even further. 30 00:01:54,656 --> 00:01:57,318 CUMBERBATCH: We're tackling the three biggest stories in the canon, 31 00:01:57,409 --> 00:01:59,116 well, the ones that have the most amount of resonance 32 00:01:59,202 --> 00:02:00,692 when people mention Sherlock Holmes. 33 00:02:00,787 --> 00:02:02,824 Let's do the three big things, 34 00:02:02,914 --> 00:02:06,999 and the three big things are the Hound, the Woman and the Professor. 35 00:02:07,085 --> 00:02:09,247 CUMBERBATCH: It's love, horror and thriller. 36 00:02:17,429 --> 00:02:21,138 In episode one, A Scandal in Belgrav/a, 37 00:02:21,183 --> 00:02:24,767 we have to finish the swimming pool scene, obviously. 38 00:02:24,853 --> 00:02:28,596 The last season ended on a cliffhanger, so nobody knew. 39 00:02:28,690 --> 00:02:30,476 Hopefully what we've achieved is that you're just like, "Oh, my God," 40 00:02:30,567 --> 00:02:32,023 and then the story moves on quite quickly. 41 00:02:32,110 --> 00:02:33,896 Say that again! 42 00:02:35,572 --> 00:02:36,733 Say that again 43 00:02:36,782 --> 00:02:38,819 and know that if you're lying to me, 44 00:02:38,909 --> 00:02:43,369 I will find you and I will skin you. 45 00:02:44,623 --> 00:02:48,742 What they want is to have the threat of Moriarty to remain 46 00:02:48,835 --> 00:02:51,793 for the rest of the series. 47 00:02:51,880 --> 00:02:53,837 (SIREN WAILS) 48 00:02:55,550 --> 00:02:59,418 In A Scandal in Belgrav/a, which is based on A Scandal in Bohemia, 49 00:02:59,513 --> 00:03:03,256 he encounters the only woman in the original stories 50 00:03:03,350 --> 00:03:05,842 that he really pays any attention to at all. 51 00:03:05,936 --> 00:03:10,055 Holmes faces one of his deadliest enemies in the shape of love, 52 00:03:10,148 --> 00:03:12,640 and it comes in the form of Irene Adler, 53 00:03:12,734 --> 00:03:16,102 who's this extraordinary dominatrix, 54 00:03:16,196 --> 00:03:18,813 this incredibly daring professional woman 55 00:03:18,907 --> 00:03:21,774 who's utterly independent, fiercely smart 56 00:03:21,868 --> 00:03:23,575 and very resourceful. 57 00:03:23,620 --> 00:03:25,702 Oh, you're rather good. 58 00:03:25,789 --> 00:03:26,950 You're not so bad. 59 00:03:27,708 --> 00:03:31,952 Him meeting a sort of version of himself 60 00:03:32,045 --> 00:03:34,662 or someone who is his equal. 61 00:03:34,756 --> 00:03:38,044 Steve immediately had this idea that she should be a dominatrix. 62 00:03:40,137 --> 00:03:41,878 And so that's interesting, doing that, 63 00:03:41,972 --> 00:03:45,636 'cause again you didn't want to do this cliché of a dominatrix, 64 00:03:45,726 --> 00:03:49,720 didn't want it to be like a sort of Ann Summers party gone wrong or something. 65 00:03:49,813 --> 00:03:53,556 So we tried our best to keep it classy and fun. 66 00:03:53,650 --> 00:03:56,893 Well, now, have you been wicked, Your Highness? 67 00:03:56,987 --> 00:04:00,196 It's not very often you're standing there in next to nothing 68 00:04:00,282 --> 00:04:04,241 with a leather whip in your hand, having a go at Benedict Cumberbatch. 69 00:04:04,327 --> 00:04:06,364 Drop it. 70 00:04:06,455 --> 00:04:08,662 I said drop it! 71 00:04:08,749 --> 00:04:12,083 I did say at every opportunity, "Do you need me to ease off?" 72 00:04:12,169 --> 00:04:14,410 And he was like, "No, go for it, go for it." 73 00:04:14,463 --> 00:04:17,421 My employer has a problem. 74 00:04:17,507 --> 00:04:19,965 A matter has come to light of an extremely delicate 75 00:04:20,051 --> 00:04:22,258 and potentially criminal nature 76 00:04:22,345 --> 00:04:25,212 and in this hour of need, dear brother, 77 00:04:25,307 --> 00:04:26,638 your name has arisen. 78 00:04:26,725 --> 00:04:28,887 In the first instance, it's actually to cover up a royal scandal, 79 00:04:28,977 --> 00:04:32,186 it's to try and put to bed, no pun intended, 80 00:04:32,272 --> 00:04:38,063 some photographs which are salacious and ruining in their content. 81 00:04:40,530 --> 00:04:43,272 What do you know about this woman? 82 00:04:43,366 --> 00:04:44,856 Irene Adler. 83 00:04:44,951 --> 00:04:48,069 And I assume this Adler woman has some compromising photographs? 84 00:04:48,163 --> 00:04:51,246 - You're very quick, Mr Holmes. - Hardly a difficult deduction. 85 00:04:51,333 --> 00:04:54,200 Generally, Sherlock knows he's the cleverest person in the room, 86 00:04:54,294 --> 00:04:57,832 and so when he meets Irene, he kind of... 87 00:04:57,923 --> 00:05:01,006 He might not be the cleverest person in the room and that's upsetting. 88 00:05:01,092 --> 00:05:03,834 And they're clearly absolutely made for each other, 89 00:05:03,929 --> 00:05:06,170 so that's a fascinating thing to play with. 90 00:05:06,223 --> 00:05:07,463 It's a negative, in his book, 91 00:05:07,557 --> 00:05:10,640 it's something that is basically going to undermine his ability to do hisjob, 92 00:05:10,727 --> 00:05:13,185 to concentrate and focus and apply logic. 93 00:05:13,271 --> 00:05:16,013 I like detective stories. And detectives. 94 00:05:17,317 --> 00:05:19,183 Brainy is the new sexy. 95 00:05:19,277 --> 00:05:20,312 (MUMBLING) Position of the car... 96 00:05:20,403 --> 00:05:22,440 Uh, the position of the car relative to the hiker at the time of the backfire, 97 00:05:22,531 --> 00:05:24,192 that and the fact that the death blow was to the back of the head, 98 00:05:24,282 --> 00:05:25,317 that's all you need to know. 99 00:05:25,408 --> 00:05:26,944 In Hound of the Baskervilleg 100 00:05:27,118 --> 00:05:29,155 or, as it has now become, The Hounds of Baskerville, 101 00:05:29,246 --> 00:05:33,490 he comes face to face with the idea of real, deranging terror. 102 00:05:33,583 --> 00:05:35,540 Maybe we should just look for whoever's got a big dog. 103 00:05:35,627 --> 00:05:37,664 - Henry's right. - What? 104 00:05:39,256 --> 00:05:40,963 I saw it, too. 105 00:05:41,049 --> 00:05:44,087 When Sherlock thinks he has seen a gigantic hound, 106 00:05:44,177 --> 00:05:45,338 then he's really terrified, 107 00:05:45,428 --> 00:05:48,466 because he knows that he can't trust the evidence of his own eyes. 108 00:05:48,557 --> 00:05:55,304 He is not above that, he's not incapable of experiencing absolute terror, 109 00:05:55,397 --> 00:05:57,308 and he tries to rationalise it away. 110 00:05:57,399 --> 00:06:01,734 But he goes out on that moor and he sees the Hound, and he's frightened. 111 00:06:01,820 --> 00:06:04,187 - What? - I saw it, too, john. 112 00:06:04,281 --> 00:06:08,525 - Just... just a minute. You saw what? - A hound. 113 00:06:08,618 --> 00:06:10,234 Out there in the Hollow. 114 00:06:11,788 --> 00:06:14,246 A gigantic hound. 115 00:06:14,332 --> 00:06:17,666 It's the most filmed, it's the one that everyone knows I think the best 116 00:06:17,752 --> 00:06:22,497 and therefore I felt more of an obligation to include certain things. 117 00:06:22,591 --> 00:06:25,379 There are so many huge, iconic moments that people expect. 118 00:06:25,468 --> 00:06:28,335 There's a dog, there's fog, there's Dartmoor, 119 00:06:28,430 --> 00:06:30,922 there's stuff you'd better deliver. 120 00:06:31,016 --> 00:06:34,429 Even the best versions, in the end, the dog, of course, is a fake. 121 00:06:34,519 --> 00:06:36,351 And I thought, "Well, I'm not doing that. 122 00:06:36,438 --> 00:06:38,145 "I've got to do something different." 123 00:06:38,231 --> 00:06:40,814 Trying to work that out almost killed me. 124 00:06:40,901 --> 00:06:43,484 In fact, I took to saying 125 00:06:43,570 --> 00:06:46,312 that Houndwasn't a hound at all, it was a bitch. 126 00:06:46,406 --> 00:06:49,273 It's based around a military institution, a military base, 127 00:06:49,367 --> 00:06:51,449 where strange sightings are seen 128 00:06:51,536 --> 00:06:57,623 and memories of things that didn't quite happen 30 years ago 129 00:06:57,709 --> 00:06:59,325 still kind of haunt people. 130 00:06:59,419 --> 00:07:02,912 There is a Hound. There is... 131 00:07:03,006 --> 00:07:06,590 And it's down to Sherlock to get to the bottom of what it really is. 132 00:07:06,676 --> 00:07:08,667 And Sherlock, he saw it, too. 133 00:07:08,762 --> 00:07:10,844 No matter what he says. 134 00:07:10,931 --> 00:07:12,513 He saw it. 135 00:07:19,314 --> 00:07:22,523 In the final one, in The Reichenbach Fall, 136 00:07:22,609 --> 00:07:26,944 it's kind of almost the moment where he becomes a hero, really. 137 00:07:27,072 --> 00:07:31,817 Up until now he's been this disquieting, dangerous, maybe potentially amoral man. 138 00:07:31,910 --> 00:07:33,947 This is the one where he is faced with Moriarty. 139 00:07:34,037 --> 00:07:36,699 It's a brilliant, very fast-paced thriller. 140 00:07:36,790 --> 00:07:41,626 ANDREW SCOTT: It starts byjim going into the Tower of London, 141 00:07:41,711 --> 00:07:44,248 attempting to steal the Crown jewels, 142 00:07:44,339 --> 00:07:48,207 which was, I have to say, one of the most fun days of filming I've ever had. 143 00:07:48,301 --> 00:07:50,417 (CLASSICAL MUSIC PLAYING) 144 00:07:50,512 --> 00:07:56,428 There was a sort of a soundtrack of classical music in the background, 145 00:07:56,518 --> 00:07:59,431 which I had to sort of dance along to. 146 00:07:59,521 --> 00:08:01,933 Well, I didn't have to. I did. 147 00:08:13,410 --> 00:08:17,904 Moriarty, in a way, is what comes to define Sherlock Holmes as a hero, 148 00:08:17,998 --> 00:08:19,784 he realises his place in the world. 149 00:08:19,874 --> 00:08:22,081 Ah, Moriarty's smart. 150 00:08:22,168 --> 00:08:24,330 You can't kill an idea, can you? 151 00:08:24,421 --> 00:08:26,332 Not once it's made a home... 152 00:08:26,381 --> 00:08:27,963 there. 153 00:08:32,220 --> 00:08:34,211 We don't think of these as episodes, 154 00:08:34,305 --> 00:08:36,467 we think of them as films, we think of them as movies, 155 00:08:36,558 --> 00:08:38,515 'cause they're 90 minutes long 156 00:08:38,601 --> 00:08:41,468 and if you just do them as episodes of a TV series, 157 00:08:41,563 --> 00:08:43,395 they'll seem very slow and very long. 158 00:08:43,481 --> 00:08:45,347 They have to have the size and weight of a movie. 159 00:08:45,442 --> 00:08:48,025 You can do whatever you want in Sherlock, there's no... 160 00:08:48,111 --> 00:08:51,149 I think we've shown the audience that you might expect to see anything. 161 00:08:51,239 --> 00:08:53,947 Well, in this one, it even goes further and further. 162 00:08:54,034 --> 00:08:56,571 Series 2 has still got all the on-screen text and things like that, 163 00:08:56,661 --> 00:08:59,744 but there's just new ways of doing things. 164 00:08:59,831 --> 00:09:02,163 - It's the title. - What does it need a title for? 165 00:09:02,250 --> 00:09:04,332 McGUIGAN". Yeah, we had a lot of toys in this one. 166 00:09:04,419 --> 00:09:06,410 We had Phantom cameras, which are really high-speed cameras 167 00:09:06,504 --> 00:09:09,212 that give you that very, very slow, slow, slow, slow motion. 168 00:09:09,299 --> 00:09:12,462 CUMBERBATCH: You can only shoot about 17 seconds I think per go, 169 00:09:12,552 --> 00:09:15,294 then the whole thing has to be calmed down and put in a corner 170 00:09:15,388 --> 00:09:17,880 and given a cup of tea and then wound up again. 171 00:09:17,974 --> 00:09:21,467 And that was the sequence where I disarm Nielson 172 00:09:21,561 --> 00:09:24,974 and clock him on the back of the head, having opened the safe and it explodes. 173 00:09:25,065 --> 00:09:26,601 Vatican cameos. 174 00:09:29,694 --> 00:09:31,731 CUMBERBATQH". And I had to do that incredibly quickly, 175 00:09:31,821 --> 00:09:33,232 but it's all sort of slowed down 176 00:09:33,323 --> 00:09:35,405 with this john Woo effect and the heads going whoa-whoa. 177 00:09:35,492 --> 00:09:39,702 And I grab hold of the gun, disarm him and clock 'em all off, all in one move. 178 00:09:39,788 --> 00:09:41,620 That was great fun to do. 179 00:09:41,706 --> 00:09:45,950 Sherlock Series 2, for me, as a Special Effects Supervisor, 180 00:09:46,044 --> 00:09:48,035 -has kept me very busy. -(SMOKE ALARM BEEPING) 181 00:09:48,838 --> 00:09:51,375 There's a few more bangs, a few more bullet hits, 182 00:09:51,466 --> 00:09:55,050 a few more atmospherics, so, yeah, this year is pretty full-on. 183 00:09:59,516 --> 00:10:01,848 - Are we here? - Two streets away, but this'll do. 184 00:10:01,935 --> 00:10:05,098 CUMBERBATCH: I've had a great deal of fun doing the stunts. 185 00:10:05,188 --> 00:10:08,601 FREEMAN: You know, me and Ben know each other reasonably well now, 186 00:10:08,691 --> 00:10:11,934 so I feel comfortable doing stuff with him, 187 00:10:12,028 --> 00:10:15,111 and so, yeah, things like the fight stuff or physical stuff. 188 00:10:15,198 --> 00:10:16,438 Punch me in the face. 189 00:10:16,533 --> 00:10:20,322 But I had to let him punch me, that was part of the deal this time around. 190 00:10:21,079 --> 00:10:22,069 Punch you? 191 00:10:22,163 --> 00:10:24,404 Yes, punch me in the face. Didn't you hear me? 192 00:10:24,499 --> 00:10:26,536 I always hear "punch me in the face" when you're speaking, 193 00:10:26,626 --> 00:10:28,993 -but it's usually subtext. - Oh, for God's sakes. 194 00:10:29,087 --> 00:10:32,205 There was no way... I was not going to pass up an opportunity 195 00:10:32,298 --> 00:10:35,416 to even nearly punch Benedict in the face. 196 00:10:35,510 --> 00:10:37,968 There's no way I was going to pass that up. 197 00:10:38,054 --> 00:10:40,341 However much the stuntman might have wanted to get in there, 198 00:10:40,431 --> 00:10:42,468 that's my gig- 199 00:10:42,559 --> 00:10:44,550 Punch me in the face. 200 00:10:45,436 --> 00:10:47,222 Punch you? 201 00:10:47,313 --> 00:10:49,350 I said punch me in the face. Didn't you hear me? 202 00:10:49,440 --> 00:10:51,431 I always hear "punch me in the face" when you're speaking, 203 00:10:51,526 --> 00:10:53,312 -but it's usually subtext. - Oh, for God's sakes. 204 00:10:57,157 --> 00:10:59,524 Ow! Ah! 205 00:10:59,617 --> 00:11:01,449 Thank you. That was... 206 00:11:01,536 --> 00:11:04,949 It's the only way that he would get away with it otherwise. 207 00:11:05,039 --> 00:11:06,404 I think we're done now, john. 208 00:11:06,499 --> 00:11:09,662 You may not remember, Sherlock, I was a soldier. I killed people. 209 00:11:09,752 --> 00:11:11,834 - You were a doctor! - I had bad days! 210 00:11:11,921 --> 00:11:13,503 (BOTH GRUNTXNG) 211 00:11:13,590 --> 00:11:17,083 Doing the fall in Re/chenbach Fall was really exciting. 212 00:11:17,177 --> 00:11:19,134 That's me. That's me up on a roof. 213 00:11:19,220 --> 00:11:20,381 That's not mejumping off the roof, 214 00:11:20,471 --> 00:11:22,838 but it's mejumping off a smaller roof onto a lower roof, 215 00:11:22,932 --> 00:11:26,345 which is about four feet, and then that cuts to me on a wire, 216 00:11:26,436 --> 00:11:30,304 dropping 70 feet, I think, onto a massive inflated bag. 217 00:11:33,902 --> 00:11:34,937 Shem" 218 00:11:35,028 --> 00:11:38,441 Fast. Not terminal velocity but there's a tiny brake on it, 219 00:11:38,531 --> 00:11:39,771 'cause they need to slow you down before the end 220 00:11:39,866 --> 00:11:42,073 so obviously if they did that the last bit of it would look weird, 221 00:11:42,160 --> 00:11:43,901 'cause you'd be braking like that. 222 00:11:43,995 --> 00:11:46,111 So this, it's fast, fast, fast, fast, slow. 223 00:11:48,833 --> 00:11:50,824 But it's pretty bloody fast. 224 00:11:51,794 --> 00:11:53,626 There's a brilliant kind of montage 225 00:11:53,713 --> 00:11:56,956 where Sherlock starts to describe a murder investigation. 226 00:11:57,050 --> 00:11:59,007 Two men, a car, nobody else. 227 00:11:59,093 --> 00:12:03,178 And basically it was so that Benedict could take her along with him 228 00:12:03,223 --> 00:12:07,057 and they share this... I guess it's a part of the love story, if you like. 229 00:12:07,101 --> 00:12:09,433 And the hiker's taking a moment, looking at the sky. 230 00:12:10,230 --> 00:12:12,096 Watching the birds? 231 00:12:12,190 --> 00:12:14,602 Any moment now, something's going to happen. What? 232 00:12:14,692 --> 00:12:15,807 The hiker's going to die. 233 00:12:15,860 --> 00:12:20,479 So, Steven had written the scene which goes between the house and the field 234 00:12:20,573 --> 00:12:22,564 and we wanted the transitions between the two, 235 00:12:22,659 --> 00:12:26,368 so Paul McGuigan said to Arwel, the designer, 236 00:12:26,454 --> 00:12:29,663 "I want bits of the room in the field." 237 00:12:30,375 --> 00:12:33,288 ARWEL WYN JONES: We just replicated the wall of the living room here 238 00:12:33,378 --> 00:12:35,790 and put it on the side of a road next to the car, to start with, 239 00:12:35,880 --> 00:12:38,918 and then in a field, to help with those transitions, 240 00:12:39,008 --> 00:12:41,124 and then took it away again. 241 00:12:41,219 --> 00:12:42,709 Which doesn't sound too complicated, 242 00:12:42,804 --> 00:12:44,966 until you're talking about a house of this scale 243 00:12:45,056 --> 00:12:46,967 where the one wall is four metres high 244 00:12:47,058 --> 00:12:49,470 b y six metres wide, with a fireplace in it. 245 00:12:49,560 --> 00:12:52,928 VERTUE: We had this huge bit of wall, 246 00:12:52,981 --> 00:12:56,349 just wandering down the road, going into the field, 247 00:12:56,442 --> 00:13:01,187 and a hydraulic bed, which just worked perfectly, I think. 248 00:13:01,281 --> 00:13:03,272 There's a transition from when he's actually in bed 249 00:13:03,366 --> 00:13:06,734 and kind of starting to come out of this dream sequence, 250 00:13:06,828 --> 00:13:10,992 and he's in the field and then has to actually appear in bed. 251 00:13:11,082 --> 00:13:13,073 And Sherlock's getting really, really tired, 252 00:13:13,167 --> 00:13:16,785 and then out of nowhere appears a bed. 253 00:13:16,879 --> 00:13:19,086 HARGREAVES: Paul, the director, 254 00:13:19,173 --> 00:13:21,540 talked about having a bed flipping up into shot. 255 00:13:21,634 --> 00:13:25,923 I did exactly that and made a bed on a pneumatic piston, 256 00:13:26,014 --> 00:13:28,551 which means it's a piston by using air, 257 00:13:28,641 --> 00:13:30,882 and I press a button and it flipped the bed. 258 00:13:30,977 --> 00:13:33,093 (AIR HISSING) 259 00:13:39,319 --> 00:13:41,606 McGUIGAN: Then he picks up a sheet; then he just lies there, 260 00:13:41,696 --> 00:13:43,027 and it looks like he's lying down. 261 00:13:43,114 --> 00:13:44,821 And in the next shot, we're in Baker Street 262 00:13:44,907 --> 00:13:46,568 from the exact same shot we matched, 263 00:13:46,659 --> 00:13:48,650 and we pull up and we see he's back in Baker Street. 264 00:13:48,703 --> 00:13:50,660 That was wonderful because I did that moment 265 00:13:50,747 --> 00:13:53,205 and in the rehearsal people were going, "Oh, my God!" 266 00:13:53,291 --> 00:13:55,658 They were watching, like, ten people just getting ecstatic about it, 267 00:13:55,752 --> 00:13:57,117 which is quite a rare thing, 268 00:13:57,211 --> 00:14:00,499 to get an immediate audience response on television. 269 00:14:01,049 --> 00:14:02,255 A lot of times, 270 00:14:02,342 --> 00:14:05,835 people will just put it down to, "Well, they've CGI'd that. That's easy." 271 00:14:05,928 --> 00:14:09,967 Erm, yeah, I'm upstaged by a bed, an electronic bed. I can't believe it. 272 00:14:11,434 --> 00:14:14,222 MOFFAT: One of the things that Paul wanted to bring to it 273 00:14:14,312 --> 00:14:17,304 was the idea that Sherlock Holmes sees the world in an extraordinary way, 274 00:14:17,398 --> 00:14:19,856 so in a way it's incumbent on us 275 00:14:19,901 --> 00:14:23,019 to visualise the world in an extraordinary way, 276 00:14:23,112 --> 00:14:25,649 like Sherlock Holmes is behind the camera as well. 277 00:14:29,077 --> 00:14:33,241 It's one of the best examples of the camera helping to tell the story 278 00:14:33,331 --> 00:14:35,663 of any television I've ever seen, actually, I think, 279 00:14:35,750 --> 00:14:39,209 'cause what happens in camera I think is extraordinary on this show. 280 00:14:39,295 --> 00:14:41,502 McGUIGAN: You can show the scene, a dead body lying there, 281 00:14:41,589 --> 00:14:44,297 and then suddenly you can do it from another point of view, 282 00:14:44,384 --> 00:14:46,716 or several points of view, and then you can dissect that, 283 00:14:46,803 --> 00:14:48,464 and you dissect it in a visual way, 284 00:14:48,554 --> 00:14:52,548 so that you're letting your audience understand how Sherlock thinks. 285 00:14:52,642 --> 00:14:54,508 HOLMES: Maybe two ideas. 286 00:14:55,311 --> 00:14:57,518 And then we looked at how Sherlock sees things, 287 00:14:57,605 --> 00:15:02,475 so we use the 5D with the stills images to go closer into things. 288 00:15:02,568 --> 00:15:03,854 And then we'll shoot the same scene 289 00:15:03,945 --> 00:15:06,357 but we'll shoot it from a different point of view for Sherlock, 290 00:15:06,447 --> 00:15:09,565 so if he does walk in the room, we shoot it from his point of view. 291 00:15:09,659 --> 00:15:12,651 So that the first time you see the scene, you'd never notice 292 00:15:12,745 --> 00:15:15,077 that Sherlock's actually scanning the whole place or looking. 293 00:15:15,164 --> 00:15:17,030 I know exactly where I'm going. 294 00:15:17,125 --> 00:15:19,366 Because I didn't want him to be going, you know, 295 00:15:19,460 --> 00:15:22,669 having, like, Six Million Dollar Man vision or something. 296 00:15:22,755 --> 00:15:26,168 So we just wanted it to feel very natural to this character, 297 00:15:26,259 --> 00:15:28,671 and then explain a little bit about how he does it. 298 00:15:28,761 --> 00:15:31,503 And also, you know, Benedict is fantastic 299 00:15:31,597 --> 00:15:34,134 atjust reeling off these incredible words 300 00:15:34,225 --> 00:15:36,216 that Steven and Mark have given him. 301 00:15:36,310 --> 00:15:38,677 - Can I have a box of matches? - I'm sorry? 302 00:15:38,771 --> 00:15:40,432 Or your cigarette lighter, either will do. 303 00:15:40,523 --> 00:15:41,934 - I don't smoke. - No, I know you don't, 304 00:15:42,024 --> 00:15:43,640 but your employer does. 305 00:15:43,734 --> 00:15:45,725 CUMBERBATCH: The deductions are... They're fantastic, 306 00:15:45,820 --> 00:15:48,278 they're sort of show-stoppy pieces. 307 00:15:48,364 --> 00:15:52,323 They are hell to do because you... However well you learn them, 308 00:15:52,410 --> 00:15:55,118 you have to deliver them faster than you can think. 309 00:15:55,204 --> 00:15:56,820 - How? - The same way that I know 310 00:15:56,914 --> 00:15:59,201 the victim was an excellent sportsman, recently returned from foreign travel 311 00:15:59,292 --> 00:16:01,454 and that the photographs I'm looking for are in this room. 312 00:16:01,544 --> 00:16:04,627 Everything just comes out as one linear thought 313 00:16:04,714 --> 00:16:06,751 and it's a stream of consciousness, almost. 314 00:16:08,092 --> 00:16:09,082 Hmm. 315 00:16:09,177 --> 00:16:10,793 It's very, very, very hard to deliver, 316 00:16:10,887 --> 00:16:13,720 and your mind knows the minute it's used a wrong preposition 317 00:16:13,806 --> 00:16:15,843 or an incorrect pronoun 318 00:16:15,933 --> 00:16:20,427 or an utterly wrong name, which has happened on a couple of occasions. 319 00:16:20,521 --> 00:16:22,558 Heaviest oil deposit is always on the first key used, 320 00:16:22,648 --> 00:16:23,638 that's quite clearly a three, 321 00:16:23,733 --> 00:16:25,895 but after that the sequence is almost impossible to read. 322 00:16:25,985 --> 00:16:27,942 I'd say from the make that it's a six-digit code. 323 00:16:28,029 --> 00:16:31,272 Can't be your birthday, no disrespect, but clearly you were born in the '80s. 324 00:16:31,365 --> 00:16:35,279 There's a huge deduction Sherlock has by the fireside, 325 00:16:35,369 --> 00:16:39,112 and I just put brackets, "Sorry, Benedict." 326 00:16:39,207 --> 00:16:42,120 Because, you know, they're monstrous. 327 00:16:43,085 --> 00:16:44,996 You want me to prove it, yes? 328 00:16:45,087 --> 00:16:47,044 We've done some scenes on this episode 329 00:16:47,131 --> 00:16:49,293 where I just point the camera at Benedict and I say, 330 00:16:49,342 --> 00:16:51,379 "OK, there's no pressure, 331 00:16:51,469 --> 00:16:55,087 "but this six-page monologue, I want you to do it without any cuts." 332 00:16:55,181 --> 00:16:57,138 We're looking for a dog, yes? A great big dog. That's your brilliant theory. 333 00:16:57,225 --> 00:17:00,468 Cherc/rez [e ch/'en! Good. Excellent. Yes! Where shall we start? 334 00:17:00,561 --> 00:17:01,551 How about them? 335 00:17:01,646 --> 00:17:03,262 He thinks and talks in those moments 336 00:17:03,356 --> 00:17:06,769 faster than I can talk at my fastest talking moments, which is quite fast. 337 00:17:06,859 --> 00:17:08,315 Look at the jumper he's wearing, hardly worn. 338 00:17:08,402 --> 00:17:10,518 Clearly he's uncomfortable in it. Maybe it's because of the material, 339 00:17:10,613 --> 00:17:11,728 more likely the hideous pattern. 340 00:17:11,781 --> 00:17:13,237 Suggests it's a present. Probably Christmas. 341 00:17:13,324 --> 00:17:16,487 Partly because we've committed this huge heresy of updating it, 342 00:17:16,577 --> 00:17:19,535 we sort of want to say to everyone who knows the originals, 343 00:17:19,580 --> 00:17:22,242 "Look, everything else is incredibly authentic." 344 00:17:22,333 --> 00:17:24,745 In fact, you'll never see a more obsessively authentic version 345 00:17:24,835 --> 00:17:26,417 of Sherlock Holmes than this one 346 00:17:26,462 --> 00:17:28,453 because it is being motored by a couple of geeks. 347 00:17:28,548 --> 00:17:32,792 There's lots and lots of nods in there that Steven and Mark wanted, 348 00:17:32,885 --> 00:17:35,047 and they just get so excited when they walk around the set 349 00:17:35,137 --> 00:17:37,674 and they see all these things. "Oh, look, there's so-and-so, so-and-so." 350 00:17:37,765 --> 00:17:40,223 And it's like kids with toys, it's lovely. 351 00:17:40,309 --> 00:17:42,050 Have you got the bartitsu? 352 00:17:42,144 --> 00:17:45,387 Erm, yes, now, you really stitched me up on that one. 353 00:17:45,481 --> 00:17:47,313 Well, Conan Doyle made it up. 354 00:17:47,400 --> 00:17:49,391 FREEMAN: When you meet people like Steven and Mark, 355 00:17:49,485 --> 00:17:52,978 who kind of know it probably better than they know their own family, 356 00:17:53,072 --> 00:17:57,441 that's a whole other level of knowledge about a writer and their work. 357 00:17:57,535 --> 00:18:00,573 This is a man who can straighten a bent poker. 358 00:18:00,621 --> 00:18:03,454 GATISS: The scale of the stories means that we are... 359 00:18:03,541 --> 00:18:06,659 We've got to the death of Sherlock Holmes within six episodes, 360 00:18:06,752 --> 00:18:11,713 they're big stories, and the big themes of love and fear and death. 361 00:18:11,799 --> 00:18:15,963 We want to see them going through the fire together. 362 00:18:16,053 --> 00:18:18,090 Let me come through, please. No, he's my friend. 363 00:18:18,180 --> 00:18:21,172 GATES: And that doesn't mean that by the end of this 364 00:18:21,267 --> 00:18:23,258 they've reached the end of their possibilities. 365 00:18:23,352 --> 00:18:25,468 MOFFAT: These are still the formative years of Sherlock Holmes. 366 00:18:25,563 --> 00:18:28,396 The most important thing about this series is not that it's updated, 367 00:18:28,482 --> 00:18:30,519 it's the fact that those two men are still young 368 00:18:30,610 --> 00:18:33,648 and they're still at the beginning of what they don't yet know 369 00:18:33,738 --> 00:18:36,446 is going to be a lifelong partnership.