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MAN: Turning over.
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585, take one, A camera.
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Action!
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MOFFAT: This all began on the train to Cardiff, appropriately enough,
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because Mark and I were both working on different episodes of Doctor Who.
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And we'd sit on the train together -
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we always get the train together so we can chat -
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and we talked about our other great obsession, which was Sherlock Holmes.
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The name's Sherlock Holmes and the address is 221 B Baker Street.
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We did this little dance, not literally, in the compartment,
11
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around the fact that our favourite Sherlock Holmes
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is still the Basil Rathbone/Nigel Bruce movies of the '30s and '40s.
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We thought they were actually rather more fun,
14
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and in certain ways, in certain tonal ways, certain humorous ways,
15
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truer to the originals than many grander and more important film versions.
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And what we kept saying to each other was,
17
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"Someday, someone is going to think of doing that again.
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"Someday, someone is going to do Sherlock Holmes and Dr Watson
19
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"in the modern day."
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And we thought, "And we'll feel so cross, because we should have done it."
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And we had this conversation, I don't know, 20-odd times, probably, over years.
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And then suddenly, it formed very quickly, the idea,
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in a very exciting train journey, and in a very Sherlock Holmes way.
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I'm sure we were sitting either side of the compartment, going like that.
25
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It was a proper Sherlock Holmes journey.
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The idea of blowing away the fog from it.
27
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And I once mentioned it to my wife, Sue, who said, "Well, why don't you do it?"
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And it was a kind of light-bulb moment, if you like.
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"We should just do this present-day."
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And that's when it properly began.
31
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We actually started focusing on putting it together, as opposed to
32
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bemoaning the fact that someone else was bound to do it first.
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- You read his blog? - Of course I read his blog. We all do.
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You've brought me here to send a text.
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(GUNSHOTS)
36
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It seemed to us - and this is just our point of view -
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that it's become so much about the trappings,
38
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about the hansom cabs, the costume, the fog,
39
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Jack the Ripper will creep in here...
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It's become a sort of strange maelstrom of stuff.
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There's a wealth of Victorian Sherlocks out there and I love them.
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There are tons of them.
43
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Why not just try it in the modern day and see how it works?
44
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And I think the clinching moment for both of us,
45
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and for everyone else we'd spoken to, was when we realised,
46
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if we took the story from the beginning, that the original stories
47
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began with Dr John Watson being invalided home from Afghanistan,
48
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and we realised, well, of course, that could happen just as easily today.
49
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Watson!
50
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(EXPLOSIONS)
51
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Watson, in this scenario, it's the same in the book,
52
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he comes back from Kandahar, from war,
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but rather like a lot of the clever adaptations,
54
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what's changed about it is obviously it's a modern context,
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so instead of writing a journal, he's keeping a blog...
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MOFFAT: One of the fun things is, as you update it, as you find each equivalent,
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you think... I remember Mark thinking,
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"He wouldn't write a journal now, he wouldn't write memoirs.
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"He'd write a blog."
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And suddenly you realise, of course, that tells you what memoirs were.
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They were blogs. And he wouldn't have teams of homeless children.
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He'd have homeless people on the streets selling the Big Issue.
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- Spare change, sir? - Don't mind if I do.
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MOFFAT: In a way, it allows you to see the original stories
65
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the way the original reader would have read them -
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as exciting, cutting-edge, contemporary stories,
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as opposed to these relics that they've become.
68
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And it's just endless fun to take the little details
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and realise how easily, how neatly they update.
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X1 004, take five.
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Action!
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(PHONE RINGS)
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Hello?
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(WOMAN CRIES)
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Hello...Sexy.
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Who is this?
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I've...sent you a little puzzle.
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(SNIFFS)
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Just to say hi.
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Who's talking? Why are you crying?
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I'm not. I'm not crying.
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I'm...typing. And...
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this stupid...bitch is reading it out.
84
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MOFFAT: I suppose one should feel extra pressure
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if you're adapting or working on something that you've always loved,
86
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but the truth is, that is so completely blotted out
87
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and obscured by the fact it's, "Ooh, it's our turn. We get to do it now.
88
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"It's me and Mark doing our Sherlock Holmes series."
89
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And we still giggle like schoolgirls that we've got this.
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So, yeah, the pressure's there.
91
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The pressure's always there. Who cares about pressure?
92
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It's the fun. It's the absolute joy
93
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that 221 B Baker Street is our address, just for this little while.
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And that's too exciting to be worried about the pressure.
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GATISS: I think that sometimes, as with James Bond,
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there are half a dozen possible Bonds. Sometimes there's just one.
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And Benedict just sort of... leapt into our minds.
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Benedict was a hugely simple decision for us.
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Sue and I were watching Atonement. We saw Benedict Cumberbatch.
100
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We were thinking, "Oh, he looks like a Sherlock Holmes."
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Mark knows Benedict. He instantly thought that was a good idea,
102
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so we just sent the script to him and he came in and read for us,
103
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and we all thought, "Well, it's just not going to get better than that, is it?
104
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"That's perfect." And we cast him.
105
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He is the only person ever to have been sent that script
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for the part of Sherlock Holmes, and the only person to audition for it.
107
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So it was as simple as that.
108
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There's a huge honour to be asked to play that in the first place,
109
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but you have to be careful.
110
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Your vanity can trick you into taking the wrong job sometimes.
111
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So you always read the script. That's the main thing you go to.
112
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And they're just...sublime.
113
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It's a murder. All of them.
114
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I don't know how, I don't know how, but they're not suicides - they're killings.
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Serial killings. We've got a serial killer.
116
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Oh, I love those. Something to look forward to.
117
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It's a wonderful combination of playing a hero
118
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who is...a faulted human being.
119
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There's an awful lot of him that is...
120
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...dangerous and perverse and interesting
121
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and great stuff to get your teeth into as an actor,
122
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and at the same time, he is a Class A hero, you know?
123
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Sorry, Mrs Hanson, I'll skip the tea. Off out.
124
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Both of you?
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Possible suicides, four of them.
126
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There's no point sitting at home when there's finally something fun going on!
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Look at you, all happy. It's not decent.
128
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Who cares about decent? The game, Mrs Hudson, is on.
129
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Casting John Watson was a much longer process
130
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because I think once you've got one side of the partnership,
131
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you've got to find the fit.
132
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The clincher with Martin was, the chemistry was instant.
133
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Martin's presence in the room changed the way Benedict played the part.
134
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It was again a very, very easy decision. You saw them standing together
135
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and said, "Oh, well, that's a television series, right there."
136
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What's this about, the case?
137
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- Her case. - Her case?
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Suitcase, yes, obviously.
139
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The murderer took her suitcase. First big mistake.
140
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OK. He took her case. So?
141
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It's no use. There's no other way. I'll have to risk it.
142
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There's a phone number on my desk. I want you to send a text.
143
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I suppose, with John and Sherlock,
144
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chemistry either happens or not
145
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and you can't really manufacture it
146
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and you can't really do anything but hope it's going to happen.
147
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You're a doctor.
148
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In fact, you're an army doctor.
149
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Yes.
150
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Any good?
151
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Very good.
152
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Seen a lot of injuries, then? Violent deaths?
153
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Hmm, yes.
154
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Bit of trouble, too, I bet?
155
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Of course. Yes.
156
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Enough for a lifetime. Far too much.
157
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Want to see some more?
158
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Oh, God, yes.
159
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And I'd liked Benedict from a distance.
160
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I'd liked his work for a long time.
161
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And I was looking forward to working with him.
162
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But then there's no guarantee you'll work well together,
163
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and thank God we have, really, you know.
164
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Because, yeah, we're two quite different people with...
165
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I guess we're quite different actors. I think we want to
166
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arrive at the same place, which is hopefully not too showy,
167
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not too, er...hammy.
168
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I think there was a friendship instantly between Martin and Benedict.
169
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They're not at all like the parts they play, at all, really.
170
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But the relationship between them
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really informs the much pricklier on-screen relationship. Because obviously,
172
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Sherlock's a quite cruel man at times and John's quite a put-upon man at times.
173
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And you won't buy that, you won't enjoy that
174
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unless you absolutely feel in every scene, in every heartbeat,
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that there is that proper underlying warmth,
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that real, proper, solid friendship.
177
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And that friendship has actually happened between Benedict and Martin.
178
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And the value of that, you get on screen.
179
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It's such a close relationship, Watson and Holmes,
180
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and I think for all their adversity and the prickliness of Holmes
181
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and how that does often come...
182
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well, sometimes comes to a crisis, at least, with Watson and Holmes,
183
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in order for that to really work on screen
184
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it's got to be with two actors who get on well.
185
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- Sorry, what? - There are lives at stake, Sherlock.
186
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Actual human lives. Just so I know, do you care about that at all?
187
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- Will caring about them help save them? - No.
188
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Then I'll continue not to make that mistake.
189
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- And you find that easy, do you? - Yes, very.
190
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Is that news to you?
191
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No. No.
192
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I've disappointed you.
193
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Good. That's a good deduction, yeah.
194
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Don't make people into heroes, John.
195
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Heroes don't exist, and if they did, I wouldn't be one of them.
196
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Conan Doyle's genius in creating those characters is the friendship between...
197
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the unlikely friendship between Holmes and Watson.
198
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Sherlock Holmes and John Watson are a fantastic pairing.
199
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They are in many ways... not quite chalk and cheese,
200
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but they complement each other, really.
201
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It's not a thing of difference being a problem,
202
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it's the thing that allies them.
203
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They are the missing half of either party.
204
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- What am I doing here? - Helping me make a point.
205
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I'm supposed to be helping you pay the rent.
206
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- Yeah, well, this is more fun. - Fun? There's a woman lying dead.
207
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Perfectly sound analysis, but I was hoping you'd go deeper.
208
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Unbeknown to them, like any sort of great relationship or any great chemistry,
209
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without knowing it, they realise they've met the right person.
210
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By the end of the first night they've spent together hanging out,
211
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they realise that they're going to be very, very good friends.
212
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Because they're a perfect foil for each other. John is...
213
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In a way, he's like Sherlock's kind of moral compass.
214
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Because Sherlock's mind is so genuinely brilliant,
215
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he doesn't always stop to consider
216
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the whys and wherefores or the rights and wrongs of what is.
217
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And John is kind of like his moral barometer there.
218
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And he's a more decent person in a way than Sherlock, because he's more normal.
219
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Sherlock is genuinely extraordinary.
220
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GATISS: We wanted to fetishise modern London
221
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in the way, I suppose, that period versions fetishise Victorian London.
222
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Episode 2, which is largely set in the City,
223
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we wanted to capture the look of the Gherkin and all those kind of
224
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big, glass-and-steel cathedrals of finance.
225
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It's part of a vibrancy which is very exciting to see.
226
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Why have we come to London? Well, because Cardiff has incredible...
227
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shootability, a word I've just coined... for all kinds of things.
228
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Particularly the huge theatre spaces, the amazing epic-looking places.
229
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And also some great matches for parts of London.
230
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But obviously, there are certain things,
231
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like the architecture of Baker Street, which you can't really fake.
232
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The whole point is to reinvent Sherlock Holmes as a modern man.
233
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We want his London to be a vibrant and thrilling place.
234
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So we want to have as much of the benefit of these locations as possible.
235
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Action!
236
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Action!
237
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Hello.
238
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- Ah, Mr Holmes. - Sherlock, please.
239
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Well, this is a prime spot. Must be expensive.
240
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Mrs Hudson, the landlady, she's given me a special deal.
241
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Owes me a favour. A few years back
242
00:13:43,720 --> 00:13:47,269
her husband got himself sentenced to death in Florida. I was able to help out.
243
00:13:47,360 --> 00:13:49,635
Sorry, you stopped her husband being executed?
244
00:13:49,720 --> 00:13:52,473
Oh, no, I ensured it.
245
00:13:52,560 --> 00:13:54,790
MRS HUDSON: Sherlock, hello!
246
00:13:54,880 --> 00:13:56,757
Mrs Hudson, Dr John Watson.
247
00:13:56,840 --> 00:13:58,717
- Hello. Come in. - Hello.
248
00:13:58,800 --> 00:14:00,836
- Thank you. - Shall we?
249
00:14:05,480 --> 00:14:06,799
Cut!
250
00:14:10,480 --> 00:14:11,993
SUE VERTUE: Today we're in the middle of
251
00:14:12,080 --> 00:14:16,232
the City, and this is our Shad Sanderson bank.
252
00:14:19,240 --> 00:14:21,834
Everyone's seen a Sherlock Holmes. I think what's different,
253
00:14:21,920 --> 00:14:24,354
you've never seen Sherlock Holmes in this scenario,
254
00:14:24,440 --> 00:14:27,318
with escalators, with modern technology.
255
00:14:27,400 --> 00:14:30,790
The whole soul of it, I think, is the same,
256
00:14:30,880 --> 00:14:33,997
and true to the original Sherlock Holmes stories,
257
00:14:34,080 --> 00:14:36,878
but it just has this modern twist. And it's...
258
00:14:36,960 --> 00:14:41,829
And taxis and London buses and just this huge expanse.
259
00:14:41,920 --> 00:14:46,516
The more modern things around, the better it sort of works, really, for us.
260
00:14:47,680 --> 00:14:49,159
Action!
261
00:14:49,240 --> 00:14:50,468
HOLMES: Two operatives, based in London.
262
00:14:50,560 --> 00:14:52,516
Both travel to Dalian, where they smuggle those vases.
263
00:14:52,600 --> 00:14:55,194
One of them helps himself to something, a little hairpin.
264
00:14:55,280 --> 00:14:56,838
WATSON: Worth ��9 million.
265
00:14:56,920 --> 00:14:58,558
HOLMES: Eddie Van Coon was the thief.
266
00:14:58,640 --> 00:15:00,551
He stole the treasure when he was in China.
267
00:15:00,640 --> 00:15:02,198
WATSON: How'd you know it was Van Coon, not Lukis?
268
00:15:02,280 --> 00:15:03,349
Even the killer didn't know that.
269
00:15:03,440 --> 00:15:05,715
HOLMES: Because of the soap.
270
00:15:07,320 --> 00:15:08,958
THOMPSON: I think the original script,
271
00:15:09,040 --> 00:15:13,955
there's pages and pages at the beginning where I try to describe this building,
272
00:15:14,040 --> 00:15:16,759
and so it was great for me walking in it this morning
273
00:15:16,840 --> 00:15:19,035
and actually seeing the location they'd picked. I'd not seen it before.
274
00:15:19,120 --> 00:15:22,032
They told me they were coming to Tower 42, but I'd not seen it before,
275
00:15:22,120 --> 00:15:25,510
so when I came in this morning and saw it, and I remembered six months ago
276
00:15:25,600 --> 00:15:27,556
writing this very vivid, visual description
277
00:15:27,640 --> 00:15:30,632
as to what it was going to be like, it was great to finally see it
278
00:15:30,720 --> 00:15:32,870
for real and see what they'd chosen.
279
00:15:34,480 --> 00:15:37,040
Yes, when you said we were going to the bank...
280
00:15:37,120 --> 00:15:40,874
VERTUE: And really, what we're just doing is to give a real sense of London
281
00:15:40,960 --> 00:15:44,873
and size and things, so the last few days we've been here, and we've been...
282
00:15:44,960 --> 00:15:46,313
Trafalgar Square...
283
00:15:46,400 --> 00:15:47,515
WATSON: You need advice?
284
00:15:47,600 --> 00:15:50,353
HOLMES: On painting, yes. I need to talk to an expert.
285
00:15:50,440 --> 00:15:52,954
SUE VERTUE: It's just the scale of London that you get,
286
00:15:53,040 --> 00:15:55,315
from Trafalgar Square and walking up towards the gallery and everything,
287
00:15:55,400 --> 00:15:57,868
that you just can't get anywhere else, really.
288
00:15:57,960 --> 00:15:58,949
Chinatown...
289
00:15:59,040 --> 00:16:02,476
DIRECTOR: OK, just make sure, where B camera's set up,
290
00:16:02,560 --> 00:16:06,314
don't obscure our eyeline to Sarah.
291
00:16:06,400 --> 00:16:08,277
We've been to Hungerford Bridge...
292
00:16:08,360 --> 00:16:09,713
WATSON: Tuesday morning.
293
00:16:09,800 --> 00:16:12,268
All you've got to do is turn up and say the bag was yours.
294
00:16:12,360 --> 00:16:14,271
HOLMES: Forget about your court case.
295
00:16:15,960 --> 00:16:18,155
We've been to Shaftesbury Avenue.
296
00:16:19,480 --> 00:16:21,072
- Ooh, Jesus. - Right.
297
00:16:21,160 --> 00:16:23,628
- Van Coon came here... - Yeah?
298
00:16:23,720 --> 00:16:27,110
...on the day he died, with a package - whatever was hidden inside that suitcase.
299
00:16:27,200 --> 00:16:28,155
Mm-hm.
300
00:16:28,240 --> 00:16:30,629
I pieced together his movements using scraps of information.
301
00:16:30,720 --> 00:16:32,711
- Sherlock... - Credit card bills, receipts.
302
00:16:32,800 --> 00:16:34,279
He came here after he got back from China.
303
00:16:34,360 --> 00:16:35,509
Sherlock...
304
00:16:35,600 --> 00:16:38,239
Somewhere in this street, somewhere near. I don't know where...
305
00:16:38,320 --> 00:16:40,788
Yeah, that shop, over there.
306
00:16:40,880 --> 00:16:43,030
- How do you know? - Lukis's diary. He was here.
307
00:16:43,120 --> 00:16:45,190
He wrote down the address.
308
00:16:47,920 --> 00:16:51,754
We wanted to show London, not just the normal locations,
309
00:16:51,840 --> 00:16:54,479
so there's some big, big locations that they're seeing.
310
00:16:54,560 --> 00:16:56,790
(POP MUSIC PLAYS)
311
00:17:14,080 --> 00:17:15,991
John, I want you to go up onto the railway line
312
00:17:16,080 --> 00:17:18,435
and look for anything that looks like the same colour.
313
00:17:18,520 --> 00:17:22,559
If we're going to decipher this language, we're going to need a lot more evidence.
314
00:17:22,640 --> 00:17:26,394
It's been really interesting for me, seeing the locations.
315
00:17:26,480 --> 00:17:29,040
Some very unusual ones.
316
00:17:29,120 --> 00:17:32,476
I mean, one of the films is particularly about codes and ciphers,
317
00:17:32,560 --> 00:17:36,758
and they're painted in different places, like clues.
318
00:17:36,840 --> 00:17:40,992
Very odd tunnels we went into, right on the South Bank, for example.
319
00:17:41,080 --> 00:17:44,959
You realise you live in London and half the time you don't know it at all.
320
00:17:45,040 --> 00:17:47,838
I was just staggered when I saw these things!
321
00:17:52,600 --> 00:17:55,353
The first thing we made wasn't any of these three movies.
322
00:17:55,440 --> 00:17:56,919
The first thing we made was a pilot.
323
00:17:57,000 --> 00:18:01,790
The name's Sherlock Holmes, and the address is 221 B Baker Street.
324
00:18:01,880 --> 00:18:02,995
Afternoon.
325
00:18:03,080 --> 00:18:05,071
This pilot wasn't intended as a pilot.
326
00:18:05,160 --> 00:18:10,314
It was intended to be the first episode of our Sherlock Holmes television series,
327
00:18:10,400 --> 00:18:12,630
but it was 60 minutes long, because that was the plan.
328
00:18:12,720 --> 00:18:17,714
And the BBC liked it so much they said, "Well, we want three 90s now."
329
00:18:17,800 --> 00:18:23,397
But the thing about that is you can't simply bolt on another half-hour.
330
00:18:23,480 --> 00:18:26,392
What we had to do, really, was to sort of make it from scratch.
331
00:18:26,480 --> 00:18:30,678
Coky Giedroyc directed the pilot, and did a fantasticjob of it...
332
00:18:30,760 --> 00:18:35,356
But once you start pulling things apart, you really have to start again,
333
00:18:35,440 --> 00:18:39,479
because every scene is probably somewhere else.
334
00:18:39,560 --> 00:18:41,118
John!
335
00:18:41,200 --> 00:18:42,633
John Watson!
336
00:18:44,240 --> 00:18:45,229
Stamford.
337
00:18:45,320 --> 00:18:48,710
Mike Stamford. We were at Barts together.
338
00:18:48,800 --> 00:18:51,268
Yes. Sorry, yes. Mike, hello.
339
00:18:51,360 --> 00:18:53,510
Yeah, I know. I got fat.
340
00:18:53,600 --> 00:18:56,273
John! John Watson!
341
00:18:57,600 --> 00:19:00,512
Stamford. Mike Stamford. We were at Barts together.
342
00:19:00,600 --> 00:19:03,990
- Yes, sorry. Yes, Mike, hello. - Yeah, I know, I got fat.
343
00:19:04,080 --> 00:19:08,631
One of the advantages of making a pilot is that you can make the series right.
344
00:19:08,720 --> 00:19:12,429
That means you can look at a pilot, and a pilot is changeable.
345
00:19:12,520 --> 00:19:15,159
You can alter it. You can say,
346
00:19:15,240 --> 00:19:17,834
"Let's change that set, let's alter that location."
347
00:19:17,920 --> 00:19:21,310
You can say any of those things. It might seem wasteful. It truly isn't.
348
00:19:21,400 --> 00:19:25,188
It's the biggest saving you can make, is to have, in effect, a test flight.
349
00:19:25,280 --> 00:19:27,077
And see what this show looks like
350
00:19:27,160 --> 00:19:30,118
if it's actually made, as opposed to the theory.
351
00:19:30,200 --> 00:19:32,270
So the shooter's not one of yours, then.
352
00:19:32,360 --> 00:19:33,998
God, no, we didn't have time.
353
00:19:34,080 --> 00:19:36,548
A guy like that would have had enemies, I suppose.
354
00:19:36,640 --> 00:19:38,596
One of them could have been following him.
355
00:19:38,680 --> 00:19:40,716
Whoever it was was gone by the time we got there
356
00:19:40,800 --> 00:19:43,030
and we've got nothing to go on.
357
00:19:43,120 --> 00:19:45,190
Oh, I wouldn't say that.
358
00:19:45,280 --> 00:19:49,637
By the time you've got a different DoP, you've got a different camera -
359
00:19:49,720 --> 00:19:51,995
which is a far superior camera
360
00:19:52,080 --> 00:19:56,278
to the one that we could afford, in fact, on the pilot -
361
00:19:56,360 --> 00:19:57,873
it just won't match.
362
00:19:57,960 --> 00:19:59,996
(PHONE RINGS)
363
00:20:03,320 --> 00:20:05,788
Hello?
364
00:20:05,880 --> 00:20:07,871
How do you make them take the poison?
365
00:20:07,960 --> 00:20:09,757
What?
366
00:20:09,840 --> 00:20:12,035
What did you say?
367
00:20:12,120 --> 00:20:14,680
I said, how do you make them take the poison?
368
00:20:14,760 --> 00:20:16,830
- Oi! Who are you? - Sherlock Holmes.
369
00:20:18,200 --> 00:20:19,918
Do you like drugs, Sherlock Holmes?
370
00:20:20,000 --> 00:20:23,072
- Not in a while. - I ask because you're very resilient.
371
00:20:23,160 --> 00:20:25,754
Most people would have passed out by now.
372
00:20:32,560 --> 00:20:34,516
Taxi for Sherlock Holmes.
373
00:20:37,720 --> 00:20:39,950
I didn't order a taxi.
374
00:20:40,040 --> 00:20:42,110
Doesn't mean you don't need one.
375
00:20:42,200 --> 00:20:44,395
You're the cabbie.
376
00:20:46,000 --> 00:20:48,798
The one who stopped outside Northumberland Street.
377
00:20:52,800 --> 00:20:56,076
It was you. Not your passenger.
378
00:20:56,160 --> 00:20:59,152
See, no-one ever thinks about the cabbie.
379
00:20:59,240 --> 00:21:01,196
It's like you're invisible.
380
00:21:01,280 --> 00:21:03,953
Just the back of an 'ead.
381
00:21:04,040 --> 00:21:06,759
Proper advantage for a serial killer.
382
00:21:06,840 --> 00:21:11,197
So even if there are a couple of scenes where we had to say to them,
383
00:21:11,280 --> 00:21:15,193
"You couldn't just do what you did in the pilot, could you?"
384
00:21:15,280 --> 00:21:18,192
Because, you know, a lot of it did work.
385
00:21:18,280 --> 00:21:21,716
But it was just easier to do it, to shoot it all again, really.
386
00:21:21,800 --> 00:21:24,155
You rarely get the chance to have another go.
387
00:21:24,240 --> 00:21:27,232
And there are all kinds of little things
388
00:21:27,320 --> 00:21:30,869
that we've been able to have another look at.
389
00:21:30,960 --> 00:21:34,350
Baker Street itself, the interior of Baker Street.
390
00:21:42,200 --> 00:21:44,077
Well, this could be very nice.
391
00:21:44,160 --> 00:21:46,037
Very nice indeed.
392
00:21:46,120 --> 00:21:48,236
Yes, I think so.
393
00:21:48,320 --> 00:21:50,390
The final sequence in Episode 1
394
00:21:50,480 --> 00:21:53,950
which originally took place in 221 B, now doesn't.
395
00:21:54,040 --> 00:21:56,918
So a lot of the scene is the same but it now takes place somewhere else.
396
00:21:58,520 --> 00:22:01,273
- My flat. - Of course it is, yeah.
397
00:22:01,360 --> 00:22:06,388
Found your keys in yourjacket. I thought, well, why not?
398
00:22:06,480 --> 00:22:08,914
People like to die at home.
399
00:22:15,240 --> 00:22:17,879
Where are we?
400
00:22:17,960 --> 00:22:21,350
You know every street in London. You know exactly where we are.
401
00:22:21,440 --> 00:22:24,000
Roland-Kerr Further Education College.
402
00:22:24,080 --> 00:22:25,399
Why here?
403
00:22:25,480 --> 00:22:29,029
It's open. Cleaners are in.
404
00:22:29,120 --> 00:22:30,712
One thing about being a cabbie,
405
00:22:30,800 --> 00:22:33,394
you always know a nice, quiet spot for a murder.
406
00:22:33,480 --> 00:22:35,755
I'm surprised more of us don't branch out.
407
00:22:35,840 --> 00:22:38,559
The one thing that really, really was significant for us,
408
00:22:38,640 --> 00:22:41,837
a real moment for us, was that the scenes that worked best in that pilot
409
00:22:41,920 --> 00:22:45,435
were where the modern world was really, really apparent,
410
00:22:45,520 --> 00:22:47,988
was really surrounding our characters.
411
00:22:48,080 --> 00:22:50,753
So, ran after a cab.
412
00:22:50,840 --> 00:22:53,479
- I told you that limp was psychosomatic. - I knew it was.
413
00:22:53,560 --> 00:22:55,232
You did get shot, though.
414
00:22:55,320 --> 00:22:57,788
- Oh, yeah. In the shoulder. - Ah.
415
00:22:57,880 --> 00:23:00,553
If you stand Benedict and Martin in the half-light,
416
00:23:00,640 --> 00:23:03,473
against a Victorian wall, you wouldn't know it had been updated.
417
00:23:03,560 --> 00:23:06,791
We have an idea now that you really should know in every shot
418
00:23:06,880 --> 00:23:08,552
that this is a modern-day Sherlock Holmes,
419
00:23:08,640 --> 00:23:14,317
because that's where the show has the most energy and is the most exciting.
420
00:23:19,960 --> 00:23:22,997
221 B Baker Street is a very, very famous address,
421
00:23:23,080 --> 00:23:26,914
so it's quite a thrill when you step onto that set for the first time
422
00:23:27,000 --> 00:23:29,958
and think, "Right, this is his home in the 21 st century."
423
00:23:38,560 --> 00:23:40,676
Well, this could be very nice.
424
00:23:40,760 --> 00:23:45,072
BERYL VERTUE: It was interesting for everybody, doing the interior
425
00:23:45,160 --> 00:23:47,879
of 221 B Baker Street
426
00:23:47,960 --> 00:23:51,873
because, you know, we're not into gas lamps, as I've said to you.
427
00:23:51,960 --> 00:23:54,235
This is contemporary, this is modern-day.
428
00:23:54,320 --> 00:23:58,359
But at the same time, you need for the Sherlock Holmes aficionados
429
00:23:58,440 --> 00:24:00,635
not to just lose it totally.
430
00:24:00,720 --> 00:24:05,919
And also Sherlock, be he in the olden days or contemporary,
431
00:24:06,000 --> 00:24:09,310
he's still that same eccentric character
432
00:24:09,400 --> 00:24:11,595
and he wouldn't live in something
433
00:24:11,680 --> 00:24:15,832
that was, you know, too suburban or too modern.
434
00:24:15,920 --> 00:24:17,319
WATSON: So, this is...
435
00:24:17,400 --> 00:24:19,550
HOLMES: Well, obviously I can straighten things up.
436
00:24:19,640 --> 00:24:25,158
It was really quite a difficult thing to get 221 B exactly right.
437
00:24:25,240 --> 00:24:29,870
Quite often you can go too far down the road of it being too much of a mess,
438
00:24:29,960 --> 00:24:33,236
and you think, "Oh, it's like every single item they've ever owned
439
00:24:33,320 --> 00:24:36,312
"is now stacked for you to see on every surface, that's too much."
440
00:24:36,400 --> 00:24:40,837
It has to be a flat that two young fellas believably would live in.
441
00:24:40,920 --> 00:24:42,512
The moment you bring it up to date,
442
00:24:42,600 --> 00:24:46,309
it sort of becomes half the familiar Baker Street
443
00:24:46,400 --> 00:24:49,119
and half Men Behaving Badly, because that's what it is.
444
00:24:49,200 --> 00:24:53,716
It is these two fellas living in a flat, putting dreadful things in the fridge.
445
00:24:58,320 --> 00:24:59,799
A severed head!
446
00:24:59,880 --> 00:25:02,678
- Just tea for me, thanks. - No, there's a head in the fridge.
447
00:25:02,760 --> 00:25:04,876
- Yes. - A bloody head!
448
00:25:04,960 --> 00:25:07,030
Where else was I supposed to put it? You don't mind, do you?
449
00:25:07,120 --> 00:25:13,468
We really loved the scenes that we filmed in the Baker Street studio.
450
00:25:13,560 --> 00:25:15,755
I love the design of it and I love the cosiness of it.
451
00:25:15,840 --> 00:25:20,118
It looks beautiful and you instantly feel like it's a place with history.
452
00:25:20,200 --> 00:25:24,557
You feel like you're... Because it's been so well done,
453
00:25:24,640 --> 00:25:27,757
it's been so well dressed, so well designed, that it's like you are
454
00:25:27,840 --> 00:25:30,957
going into a flat that has been there for 1 50 years. It's really good.
455
00:25:31,040 --> 00:25:34,157
GATISS: It's one of those curious things, when you're basing something
456
00:25:34,240 --> 00:25:39,872
on existing stories and a very familiar world to people,
457
00:25:39,960 --> 00:25:44,397
you do have to, sort of, create, as it were, a bible of your version.
458
00:25:44,480 --> 00:25:50,430
We wanted to have things like the jackknife on the mantelpiece
459
00:25:50,520 --> 00:25:53,432
which transfixes unopened correspondence.
460
00:25:53,520 --> 00:25:56,956
A curious thing happened on the first day of shooting.
461
00:25:57,040 --> 00:26:00,271
We were dressing various things in
462
00:26:00,360 --> 00:26:04,319
and I spotted this picture just there, where it is now.
463
00:26:04,400 --> 00:26:07,233
And in the original stories,
464
00:26:07,320 --> 00:26:14,351
Dr Watson has an unframed picture of a man called Henry Ward Beecher.
465
00:26:14,440 --> 00:26:18,035
This is not Henry Ward Beecher, but it's a complete coincidence.
466
00:26:18,120 --> 00:26:21,476
The props people had just dressed in an unframed picture.
467
00:26:21,560 --> 00:26:25,758
I said, "Leave that, that's like a little accidental reference."
468
00:26:25,840 --> 00:26:27,637
Um...
469
00:26:27,720 --> 00:26:30,553
And obviously, through there in the kitchen,
470
00:26:30,640 --> 00:26:34,872
which Sherlock has just completely converted into his laboratory,
471
00:26:34,960 --> 00:26:38,839
we've got a lot of microscope equipment and test tubes and stuff like that.
472
00:26:38,920 --> 00:26:42,515
It would be no accident to open the margarine tub
473
00:26:42,600 --> 00:26:45,194
and find a severed finger in there.
474
00:26:45,280 --> 00:26:51,037
His experiments kind of creep out into the rest of everybody's life.
475
00:26:51,120 --> 00:26:53,190
And I think it's quite a funny thing,
476
00:26:53,280 --> 00:26:58,513
the idea that they are flatmates and they're supposed to be two units,
477
00:26:58,600 --> 00:27:03,628
but Sherlock's interests and obsessions spread out like a mould through the house.
478
00:27:03,720 --> 00:27:07,952
Sherlock! The mess you've made!
479
00:27:16,520 --> 00:27:19,432
SUE VERTUE: Today, we are doing the music for Episode 1 .
480
00:27:19,520 --> 00:27:23,479
So David and Michael have done a bass line for the music
481
00:27:23,560 --> 00:27:26,028
and then we're now adding all the strings.
482
00:27:38,560 --> 00:27:41,120
(MUTED DISCUSSION)
483
00:27:45,880 --> 00:27:47,836
I think the first thing was just
484
00:27:47,920 --> 00:27:51,276
trying to come up with a central theme and a character for it.
485
00:27:51,360 --> 00:27:54,955
Is there a way of playing this character that, you know,
486
00:27:55,040 --> 00:27:59,158
is relevant to the movie that they've made and the character they're making?
487
00:27:59,240 --> 00:28:03,552
So, it's discussions with Steven and Sue and Mark,
488
00:28:03,640 --> 00:28:06,916
and then both myself and Michael
489
00:28:07,000 --> 00:28:09,912
try to find common ground in terms of
490
00:28:10,000 --> 00:28:13,356
what is going to be the defining sound of this show.
491
00:28:13,440 --> 00:28:15,954
Here we go. Eight clicks into three.
492
00:28:16,040 --> 00:28:18,679
So the clicks start on the downbeat of bar one.
493
00:28:18,760 --> 00:28:24,073
Myself and David Arnold are the composers, but we both work with fabulous
494
00:28:24,160 --> 00:28:27,914
assistants, programmers, orchestrators, arrangers,
495
00:28:28,000 --> 00:28:30,355
lots of people who all work really, really hard
496
00:28:30,440 --> 00:28:32,795
to make sure that when we come here for the sessions,
497
00:28:32,880 --> 00:28:36,634
everything is done and everything is absolutely flawless.
498
00:28:36,720 --> 00:28:38,676
So, with the musicians, we can...
499
00:28:38,760 --> 00:28:41,718
Because their time is very, very precious, we can just fly through things.
500
00:28:41,800 --> 00:28:44,758
(DRAMATIC CHORD BUILDS)
501
00:28:52,160 --> 00:28:54,549
(MUSIC PLAYS)
502
00:28:57,520 --> 00:29:00,318
...Entry at 43, beat 3, please.
503
00:29:00,400 --> 00:29:03,358
SUE VERTUE: Music itself, I think it brings the whole thing together.
504
00:29:03,440 --> 00:29:05,829
You do it at the end. It is very subjective as well, I think,
505
00:29:05,920 --> 00:29:07,831
but it really brings out the drama or the light touch.
506
00:29:15,640 --> 00:29:20,919
You need to know it's there without being overly aware of it,
507
00:29:21,000 --> 00:29:25,278
unless it's the time when it's really, you know, stressful and tense,
508
00:29:25,360 --> 00:29:27,920
when you really do want to hear that music coming through.
509
00:29:28,000 --> 00:29:31,072
I think there's a lot of that really exciting stuff in this one.
510
00:29:32,160 --> 00:29:34,549
(MUSIC BUILDS)
511
00:29:38,080 --> 00:29:40,878
GATISS: You know what you want, I think, and sometimes,
512
00:29:40,960 --> 00:29:44,430
when music really delivers, it's a fantastically satisfying thing.
513
00:29:44,520 --> 00:29:47,557
You feel like, if your emotions are rising at the time,
514
00:29:47,640 --> 00:29:49,596
that the score is taking you along that journey.
515
00:29:49,680 --> 00:29:51,750
Are we doing super-well?
516
00:29:54,400 --> 00:29:59,110
Thank you very much for the accelerated pace, guys.
517
00:29:59,200 --> 00:30:02,795
The nature of the way the music has been written for this show...
518
00:30:02,880 --> 00:30:06,793
We have certain pre-recorded synthetic elements,
519
00:30:06,880 --> 00:30:10,634
but I think, once you put real musicians on something,
520
00:30:10,720 --> 00:30:14,474
it starts to come to life and adds a real personality.
521
00:30:14,560 --> 00:30:20,874
So I'm very pro having real people playing music for whatever it is,
522
00:30:20,960 --> 00:30:23,679
whether it's a TV show, animation or a film.
523
00:30:23,760 --> 00:30:27,673
Notes on page are fine, but I think when you get people
524
00:30:27,760 --> 00:30:29,990
actually putting a real performance into something,
525
00:30:30,080 --> 00:30:33,117
it can make so much difference to...the way the music sounds,
526
00:30:33,200 --> 00:30:35,316
but also the way that you perceive the programme.
527
00:30:35,400 --> 00:30:39,518
(TENSE MUSIC)
528
00:30:42,440 --> 00:30:45,352
You hope the music speaks for itself,
529
00:30:45,440 --> 00:30:47,590
you hope that what you have written is clear enough
530
00:30:47,680 --> 00:30:52,276
for them just to play and for it to work. But from time to time, you can, um...
531
00:30:52,360 --> 00:30:55,033
Sometimes we'll just turn the screens around and go,
532
00:30:55,120 --> 00:30:57,634
"Oh, it's this bit! This is what's happening now."
533
00:30:57,720 --> 00:30:59,676
And they go, "Oh, now we get it. Why didn't you say?"
534
00:31:02,440 --> 00:31:04,829
So it's a fabulous living, breathing thing.
535
00:31:08,800 --> 00:31:10,711
The exciting thing about Sherlock Holmes
536
00:31:10,800 --> 00:31:14,110
is an awful lot of the way forward is already there in the stories,
537
00:31:14,200 --> 00:31:16,509
because we have really been quite faithful, in a way,
538
00:31:16,600 --> 00:31:20,434
to lots of the ingredients in those stories, but using them in new ways.
539
00:31:20,520 --> 00:31:25,310
What would The Hound Of The Baskervilles be in a modern setting?
540
00:31:25,400 --> 00:31:28,153
What would The Speckled Band be in a modern setting?
541
00:31:28,240 --> 00:31:31,676
Looking at their stories and updating them and thinking,
542
00:31:31,760 --> 00:31:33,557
"What would a haunted house be?"
543
00:31:33,640 --> 00:31:36,393
Haunted houses are a stalwart of Sherlock Holmes,
544
00:31:36,480 --> 00:31:40,439
but what's a modern haunted house? How would that be now?
545
00:31:40,520 --> 00:31:44,115
All those incidents. We've got stuff from the stories that's never been covered.
546
00:31:44,200 --> 00:31:46,395
Watson spends quite a lot of the stories married.
547
00:31:46,480 --> 00:31:48,038
Are we going to do that? We could.
548
00:31:48,120 --> 00:31:49,758
We could marry off John
549
00:31:49,840 --> 00:31:51,592
and have him living somewhere else other than Baker Street.
550
00:31:51,680 --> 00:31:53,910
That's open to us. All those things
551
00:31:54,000 --> 00:31:57,470
are out there for us in the future, and, if you know your Sherlock Holmes,
552
00:31:57,560 --> 00:32:01,155
you'll be sort of thinking, "Oh, how are they going to handle that?"
47812
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