首先实在是要感谢Lynn~~~~
我本人听写的问题很多 水平有限很多听不出来、时间精力也有限没法一一查证……
这个时候Lynn拔刀相助帮我校对了一遍~~真的改进了很多有很大帮助~~~超级感谢滴~~

茶楼。。

审核神马的是想怎样啊啊

well and I think it’s become a bit of a signature of the series. Really,brilliant enough.
SV: It’s cut away shot. It was the last dayof filming, the second camera. And everyone is meeting but nobody wants toshoot them.
SM: And I always get this impression thatevery character in these shows is mildly illiterate. Cause what? It will takeyou a second to look at it and ”Woo” understand and stay outrageous.（MG:Ponder over it.）Andthere is wonderful Rupert Graves as inspector Lestrade as we called him untilMark you pointed out.
MG: Yeah. It’sone of those things about…it’s worthing saying that really obviously SherlockHolmes is the work of Sir Arthur Conan Doyle, a genius writer whose stories weboth absolutely fond of as kids. It’s all him. Of course it’s his. But ourcontribution in reinventing this whole idea with the sort of device and new…abible I suppose for what the modern diversion would be and it’s not as easy asit seems, not the discretion of removing the pipe and the deer stalker whichhave got Wendy xxx in the first place. But actually finding a modernequivalence for all kinds of things.... And funny enough, very late of the dayI actually, I did sit up in bed three o’clock in the morning and just think“you can’t call him inspector Lestrade, he’d be “D.I. Lestrade”, like Jane         . And actually we’d already shotquite a bit of staff. It’s funny all these things happened.
SM: We should quickly mention that, for youSherlock fan boy out there. Note the name on the coffee cup that Martin Freemanhas been kind enough to hold by the burny bit of the cup so he’sactually showing you his code “criterion” because the two of them in the story,Stanford and Watson, actually met in the criterion bar. We are not in thecriterion bar but we want to honor that so we’ve called it “the criterioncoffee bar”.
MG:Although by extraordinary fate, in the pilot we did go to “the Criterion” Bar.It is beautiful, gorgeous and interior that we couldn’t go back to.
SM：Soyes you will see some of that “Criterion action”. It’s not that clear it is theCriterion but there must be some…
MG: And here’s the most           morgue, with our first hero shot of our hero.
SM: It’s very rare to introduce a popularSunday evening hero by having him thrash the corpse of an old nice man.
MG: Not since “All Creatures Great andSmall”.
SM: Yes I’ve already did Miss. Marple.
SV：Yes.It’s not often it’s been filmed, is it? The Sherlock Holmes…
MG: don’t think it’s ever been done this.
SM: Yes because it’s the first time he’sreferred to in “the study of scarlet” originally the Stanford character said,I’m not sure, his madness goes to beating the subject in the morgue room.
MG: Yes he’s actually a reference he’s noteven to think. So this is one of the joys for us for doing this. This I mightsound heretical to died in the blood addict. He’s actually… There are so many

about. They don’t talk… they don’t say like “ Now we’ve become friends and howdo you feel about me” ever. They never do that. (MG: They don’t need to.) No.That’s what I find the joy in writing that friendship. It’s subtext but reallyit’s right to the top level of the subtext. It’s just about this two man and in fact they adore each other.   I know that absolutely lovely shot therefrom Paul McGuigan.
MG: Here we are. Just the words BakerStreet send a straight thrill through me I have to say. It’s um…it’s avery good match, that kind of architecture and the white xxx front of thehouses. I love the fact that really, obviously we weren’t trying to force themodernity. It would be awful I think if we sort of stripped away all the thingslike silly wet of Sherlock andactually the look of Benedict really liked that kind of way. But also we livein Victorian houses. They’re still everywhere around us. (SM: Yes.) This issomething that has come on to the interior of Baker Street actually but it wasalways about trying to find a modern equivalent without sort of pushing it toohard.
SM: And there’s also a blatantimprobability here that we couldn’t live without.It’s 221B in the door. But you can see correctly there are three door bellsthere why would one of those houses have…? But how could you not have 221B onthe door? I don’t think… I’ve invented twelve back stories and never onewithout that.
MG: Yeah. No-one has ever done that sowhy would we start? 221?
SM: Yeah. Oh it would be sodepressing. Here we are now at the absolutely lovely Baker Street set.
SV: Which is everyone thought is acomfortable place that you want to sit down and…
MG: Interesting if you change from thepilot into this, because the originally idea…wecertainly want to be very cozy but not student squaller. We want it to looklike a bachelor flat that two young man… they definitely do a lot of beans.But it has to look somewhere you’d really want to spend time and hopefully as an audience you want to see it in. But Paulwas very interested in wall paper. It’s actually being the signature of his.There’s actually a lot less red and Victorian than it was in the pilot.
SM: Yes we always tease Paul. Paulteases himself of his wallpaper fattish back. Watching other films, ones thatare not directed by Paul McGuigan … The only thing you think is that wallpaperdoesn’t have help with the set. (MG: You mean none-wallpaper film. ) Yes. I wasstarting to think it was a boring wall.
SV: And there used to be two levelswhen we first made the pilot. It’s inconvenient, yeah.
MG: Before we come on to talking aboutour two leads, should we talk a little about the great Una Stubbs as Mrs.Hudson who brings, I think, a kind of fantastic xxxof just being national treasure. And Mrs. Hudson is one of those parts thatyou…you’d always want to feel that someone who wouldlook after you and you could give a cuddle to. And what Una brings, sobrilliantly, is… It’s a very interesting thing because

actually usually when Sherlock and Watson are quite a bit older, she isreally old and she is         . And in this instance, she is morematernal. She feel like she’s xxx her boys.
SM: Andlaughable things have just happened and it was… Was it in script I can’tremember but is that Holmes, or Sherlock, is quite standoff. He’s quite coldand arrogant, obviously a dozer and has no problem in demonstrating. He hugsher; he kisses her. He’s just um… and I think it’s a nice character to knowthat he’s not cold because something is wrong with him. He is cold because mostof the time that’s what he is like. If he utmost likes you, it’s not a problem.
MG: And theyhave this kind of… I mean he shouts at her, later on, quite savagely but in away that you would maybe with your mom. He gets likely cross (SM: yesabsolutely) because he is absolutely right and he obviously likes her. (SM:yeah, yeah)
SV: And Unaherself is just as lovely as you want and expect her to be.
SM: I betthat xxx is a national treasure and I believe there is actually one. I wasjust… as we sat here a few days earlier after the press launch, I think theevery line that Una uttered got a roar and she was so…
MG: Becauseas we know from her genius aunt Sally she can also do very mean. (SM: oh godyes)I think she might be possessed by some sort of voodoo spirit. I think she isgenuinely frightening and might be the most up until now          in the think of it you know. I think thatmight be the most powerful portrait of human evil.
SM: This isa moment I love I have to say. When I wrote this I just loved writing it. It’s one of those things I love writing andit’s done perfectly.
MG: Yesabsolutely. It’s an immensely satisfying scene because it delivers everythingyou want. Suddenly this abandoned lost soul, the man you want to come backcomes back for him and then hold his hand and said come on. SV: As they leave…Ijust ensure… as they leave this and watch the camera work on this.
SM: Watch the shot. Nowthat was obviously a white from one set to the other and now into onecontinuous thing. But pay attention now when you’re watching this to what thecamera is doing cause you’re rightly noticed that it does sometimes impossible.Now I don’t in fact mean walking out of the door. That’s impossible. 

Watch this:he’s coming out through the door, no watch of what it does. Camera is nowflying, it’s about to fly in the air.
SV: Theymust have had a really tall operator.
SM: That isactually physically impossible.
MG: Well itwas the Golem from episode three. He was crouching down, then stood up.
SM: No Xxxfan is the way it’s done. It was the moment when you see Martin Freeman crossthe front of frame. There is a wipe on that which allows him to switch.
SV: Yeah,got everyone to hold that position in the street and froze. You guys textingand it’s a different shot and it’s strictly being done.
MG: SoBenedict Cumberbatch and Martin Freeman. Well I think… (SM: That’s all we’regoing to say. ) Yes. They speak for themselves.
SM: Yeah alittle. Who are they? It’s a… as we said before, Benedict was the first andonly person who ever read for this part, you know of modern Sherlock Holmesisn’t it?
MG:Absolutely yes. It was one of the things that… I think sometimes there are obviously lot of James Bonds you could imagi
neta
king the part and sometimes there is only one, a clear field. And weirdlyBenedict’s name arise from you and Sue watching “Atonement” and I know Ben fromworking with him before and he was like “oh yes”. And he came in and read. Itwas brilliant and everything you wanted. And that was that.
SM: And youjust felt sort of ridiculous to go anywhere else, didn’t you. I mean, what’sthe point? He was really the actor the point. There’s one thing that we werelooking for someone. We were looking for someone younger, you know, in theirearly thirties which is a rarity for Sherlock Holmes who can do the Rathbone,who can be patrician and older and pierced and commanding. That’s fairly rare ofthat age. So there isn’t another person walking out there who can play by theway he can.
MG: And thenthere are simple things, obviously he was terrific and real star like I think.(SM: He has made a solid star quality. He really is.) But also he looks likeSherlock Holmes and that’s something you don’t… you know there is no point inchucking the baby out of bath water. You can’t suddenly decide Sherlock Holmesis figured enough tall and has a wounded arm or something. He looks right andbring this amazing kind of command. And interestingly one of… I think one ofthe great triumph of him as this leading man performance is actually Benedictis much more bumbling and delightful in real life. It’s… He is really SherlockHolmes here and then when you meet him he’s actually not.
SV: And thenwe saw him in theatre last night and he was another person again. (MG: not atrace.)Without trace of Sherlock Holmes.
SM: yeah,not a half of it. A completely different person. And actually when I’ve beenwatching the show, I hadn’t seen Benedict for a while. I forgot that Benedictis a taller SherlockHolmes. He is, as you say, bumbling, sweet, affable, the nicest man you’llmeet. The only one slice stranding in commonis, I think, there’s a kind of – in his case a

have the chemistry.
SV: There isanother one of Paul’s amazing shots.
SM: Oh yes.This is a tremendous gadget, the middle of a stair, isn’t it? Andthis is um… I’ll see how you explain it cause you were there…
SV: Um…how’sit done…
MG: it’s asort of…um…it’s a sort of revolving pole thing.
SM: You… theactually lift through the floors, though… There are three shots there, isn’tit?
MG/SV: yesyes.
SV: Yesthere is a pole in the middle which was called…
MG: themiddle pole.
SV: I’llcome back to you on that one!
SM: themiddle rising pole, I guess it’s probably called.
Mark: Thenthere was an up and down thing…and then a magic box. And then there was thecamera shot! Well this house, while we’re here, is in Newport and I have to sayI wanted to buy it. It was a vast xxx pile of all these incredible features andyet they let us knock a hole in the wall.
SM: Wedidn’t have to fix it after all.
SV: It’slike you went to the      pole set on the next grade and come back tofind a hole in your wall to get some structural        , but you’ll see the hole there.
SM: Now thereis again for the Sherlock fan boys, a reversed logic here. In the originalStudy in Scarlet, they find a word “Rache” on the wall and the poli** think itwas interrupted while someone is writing Rachel. This time here we inverted itso she is actually writing “Rachel” and thepoli** think it’s “Rache”. So whatever you say, with Sherlock Holmes in theroom, he’ll always have the opposite view and he is definitely right.
SV：Itook the Sherlock shot with the Germany audit show the other day and I thinkthey’re quite impressed that they have their language there. Each country hastheir…
SM: Iremember a moment of panic looking up thinking…cause Doyle is notoriouslysloppy about his research and I was thinking, “Maybe ‘rache ’ means toilet orsomething!’’
MG: Yes BarateSu, the famous Jap**ese system of restling which doesn’t even exist.
SM: Icertainly would believe that. I do. Actually it’s so hard to me. What is asingle stake player?(MG: Oh yeah, single stake) Oh I always get a laugh at thatpoor old Anderson.
MG: Here is an example of the idea of beupdate. I think we all might look on paper a bit like sort of old… Sherlock Holmes, hehas computers and kind of rule one… But actually, the truth of it is SherlockHolmes was a man of his age and in the 19 century,as a modern man, he’s constantly filing telegrams; he’s constantly receivingcables; he sends of little note to Billy the pageboy around the corner and allthese sorts of things and then they get a telephone installed in Baker Streetin the later story because…of course they would. So we wanted him to be completely aman of now andsomeone who actually has access to a vast store of knowledge. Hewould no longer really have a normally system of box files. He would be intenselyusing computer and very xxx happy.


MG: We’vegot the shot. It’s funny. That will do thank you. Fine. Moving on.
SV: Well weare secretly committing a crime.
SM: Andmaking that…You know traditional state ofcommitting a crime is to committing it to film and showing it on television.
MG: it’sactually shot by other cameras across the road.
SM: AH,scary stuff. They seem to recognize that phone.
MG: this isthe beginning of a little “red-hairing”, or a very large one.
SM: Well Ithink we gonna assume that everyone has seen the film already that but ofcourse we know what we were going to do is to convince everybody that man whois… in fact Mycroft is Moriaty.
MG: I thinkdescribing you as Sherlock Holmes’ arch enemy definitely helps.
SM: But Iwas rather pleased at that. Remember I said, discussing with you, you know,everything that I considered as an elder brother might say is very similar tothat. I’m very concerned.
MG: Yes, heis concerned. He is just pegging.
SM: I thinkwe’ll have to fess up to…that our interpretation of Mycroft is prrtty not Doyleat all but Billy Wilder’s.
MG: Izzie Diamonds. Our favorite…apartfrom the Rathbone films, our favorite really is the Billy Wilder film ThePrivate Life of Sherlock Holmes—a very underrated film which I think now ismuch more appreciated, I have to say, but it’s a fabulously, melancholy funny,reverent, and yet very very reverent film. It’s kind of a perfect package in somany ways.
SV: Mycroft was fat, wasn’t he?
SM: Yes, he was. He was very fat.That’s why we cast Mark! Yeah he is hugely fat and the books which xxx I haveto say is probably his only distinguishing feature. And Doyle slightly…
MG: Clever.
SM: Yeah. But even that is sort ofpromised but not delivered. We rather loved what Wild and Diamond making…
MG: Christopher Lee into the             factors.
SV: These are fabulous occasions.
SM: Yeah. And I have to say despitethe fact that he is here, I think this is absolutely a beautifully acted scene.
MG: My blushes Watson.
SM: And we were getting the rushes forthis and I really hoped to be there but I was stuck by an xxx within LA. Causeit would be so equably hint of view for Mark to beplaying Mycroft. I wanted to see that.
MG: Well I was…, you know, I had to beforced to be playing this part and…
SM: AH, we should give credit to theman who thought of it, Steve Thompson. This idea we were discussing aboutMoriarty and Mycroft and Idiscussing this specific idea and... But Stevepointed out that actually you would pass very well as Benedict’s brother at themoment and you were at Peter Mandelson Body Language.
MG: You know what, it xxx me a lotcause I was auditioned to play Peter Mandelson in the memorial that Julia Watt did, soyes that’s very comfortable. Yes cause I was watching Peter Mandelson xxx theday and thinking “well, hilarious ” But I think Mycroft has much more powerthan he xxx of. But you know, I think this, I’m afraid, it’s just the way where

you are going to fall into places as… and certainly in terms with what you did with the expending the original story line, verycleverly but also to be just a huge…I have to say hopefully, people keepfalling for it. Well it’s a delightful thing I think,you know, to get the chance to play the other Holmes. It’s just fantastic. Andhe…there is something really delightful about that relationship I think.
SM: The…also the side of John that wesee here is really cold. Martin, just this shot, what a tough man he is! Youknow, he is… cause we’ve… Because John being the decorous man he is. I think heis biting his lips. He’s always so calm and people has never drawn attention tohimself. But here he is just absolutely brave.
MG: And his face became really brave.I mean what if this situation is terrible? It’s like it’s being taking so muchof his shot.
SM: And he mightwanna assume about what he is going to be.
SV: And his pride.
SM: And he is just absolutely solidsteel in this, which makes us like him I think. For it’s almost the thing thatwe are seeing but Sherlock isn’t. Sherlock will know this in the end but, youknow, he’s just a powerful friend, a powerful ally.
MG: But it’s better in the Wilder filmthat it was such a clever idea that theDiogene club that is supposedly respectable, Um…group of British eccentrics whodidn’t like company is actually the secret service. (SM: Yes. Brilliant.) Andreally it’s just…just so good. We decided that we early on that everything iscanonical, every version, not just drawing on the stories but the Rathbonefilm, the Jeremy Brett…I’ve said that there’s a little nod here to xxx serieswhen I say “If you do choose to move into two hundred and twenty-one B…”, whichis what Charles Kay does as a creepy man, with the infinite staying. That’sjust lovely. (SM: obviously) Cause it is the sort of thing that someone likeMycroft would…You are going to live there?
SM: Absolutely this disappointingyoung man. Well yes there’s so many other things I have…We talked about,spiderwoman and the Bazil Rathbone, (SM: the quaint essential ), the film whichI recommend all to see if you haven’t seen it. It’s a fifty-nine minute film.Very rarely it’s so short. There is more plot and spiderwomen than any otherman ever made. I mean it’s ten minute and you think everything has happened,there can be no more events.
MG: It’s one of those… such a joy ofthose films because they are… They were made of sort of exactly the rightattitude. They’re cheap, but they’re handsomely amount and of great sincerityand pleasure. And they are, to our minds, close to the a bit of the adventuresof Sherlock Holmes, the idea of the story being odd, funny, strange littlethings.
SM: And there are more of the veryaugust state that come from .
SV：Isthis with the Quain that made this whole thing up?
SM: TheQuain? No, it’s a black and white one. It’s Rathbone and Bruce in 1940s. It’sone which is killing people away. Did you see as a women because it’s a

peculiar feline cruel method.” Right. No issue there at all then, Sherlock. “
MG: But itdoes…I mean you can’t argue with a film which ends with the shooting xxx ofsequence which Sherlock is xxx image of Adolf Hitler. He is trying to takepotshot at him.
SM: I just… I keep meaning to check this andI finally have. I mean, I’ve always be willing to work…how many minutes shouldSherlock himself is lost screen for? He…Um… We last saw him at thirty so he isoff screen for a good twelve minutes which is quite interesting in the middleof it. Yes, “God, Mark so slow!”. Oh and this little non-love affair betweenthese two, I think, is beautifully played. There was point when it was droppedout the edit and it just didn’t work as well without it.
MG: it’sdelightful cause it’s a little… I mean it talks about a great organizedintelligence and it’s like every aspect of whatever power Mycroft represented.It’s very frightening. Even that little joke is frightening. He’s sort oftoying with it.
SM: Yes, hehas got here some kind of soldier mind she’d appreciate. MG: finally he’s backon.
MG: And nowwe have come to the vexed question.
SM: I’vealways have this slightly ugly thought, I’ll let him use but I think “my godwhat’s in those nicotine patches”(MG: Well he has got three on him.) This was…Imean, I ‘m trying to remember what subjuect we discuss for the first day, xxxoffices.
MG: Well Imean, it’s certainly talked about… we talk about the drug problems on thetelevision; we talked about how could Sherlock Holmes could exist in the age offrenzy and CSI… smoking and the addiction… I think…
SM: Welllet’s think it’s on the screen, the drug thing. We shall work it in thatinteresting way.
MG: But Isuppose one of those things, isn’t it? While you…we’ve got…you have passionateopinions about certain versions and it’s one of those things that we just thought it’s always overstated. People obsesswith it, they do. They run with the story line.
SV: They askquestions all the time.
MG: Yes,it’s one of those things that will lead to the question and actually as yousaid Steven, it’s… There’re more references in laughing into ever taking anydrugs and if they doubted the story quitequickly… But for a modern equivalence, would a man like Sherlock Holmes takedrugs? He may have dabbled because the sort of addicted person he is, but itwould just be very odd. And the other thing is when it is done, generally it’sdone wrongly. He took them to stay out of boredom himself, his brain fromtearing up to pieces and the amount of time where he is just sticking in themiddle of the most exciting cases of his career.
SM: He’sjust not considering doing it. I think if you look at it in the way it sit inthe original stories is to make his exotic. You know he’s a creature who’sbrain is so powerful that he need stimulation. He needs to be stimulated, theweird shock, he needs to swimming forward to breathe, he’s breathe must be

MG: YesChina Town absolutely. But Cardiff was coldwhen we shot it. It was very cold. Really somefantastic doubles of London.
SM:Well, you know that us….
MG: Thankyou Cardiff!
SM: Yeah!Cardiff is great. We love Cardiff! Another fond of the scene is because thereis a moment, a genuine momentof warm from nasty old Sherlock into the manipulateda bit, but properly warm, nice warm smile.
MG: There’san interesting thing that I know there was a longtime ago, at the pilot stage there was some sortof discussions e-mail aboutwhether he is likeable. And you know,happily, I think, we were able to go “House”! Not because we were playing bingobut because we could cite the wonderful precedent of a show clearly based onSherlock Holmes with a very, very grumpy protagonist whom everybody adores. Andactually it’s one of those things I think…our Sherlock is warmer than the onein the stories. There are more moments like that. But it’s so interesting. Thereason, I would say, the reason you’re interested in the characters is like,it’s because he’s not like us and you want him, to sort of, of course, to say ”John, my friend” but what he does, he’s eventually doesby saying “No, I’ll get the beans” “Really?”You, know that sort of little thing. That’s good as everyone gonna get. And really if you went further, it would just somehow…diminish how he is attractive as acharacter.
SM: You’reactually hanging on every word to wait and see if there’sgoona be a crack in the façade.
SV: And he,in episode two, I think, when he heard Watson’s card is not working he’s like“Just take mine.” And they do that, they share cards.
MG: That’s JonathanAris, as Anderson, is now beardless.
SM:Ah yes!
MG:(laugh)
SM: And darewe say, I don’t know if Jonathan Aris is gonna listen to this…one of thereasons that we’ve gone to get rid of the beard was the the focus troop wholooked that in the pilot thought he must bebaddie because it’s clearly a false beard.
MG: Yeahit’s true.
SM: JonathanI’m sorry, but it’s true! I believe…
MG: Istarted to judge that people still think that means a baddie. He also had acape, and a big hat!
SM: Yeah, that was a…and a sinister laugh and a little fizzingbomb in his hand! Which is…, and I suppose this’sanother waving address that drug thing that we’re making it clear that there has beena past.
(MG: Yes, which Lestrade is aware of. )
SV: But thisis the same way you’ve been putting all the other elements together, isn’t it?
MG: Sorrythat’s what we laugh. Cause there is a fantastic Christopher Guestfilm waiting forGuffman. This Cockie Sing Clair the terrible theatre actor says, he says, “asSherlock said to Watson ‘the elements are coming together, sir.’” And there you are, thank youfor saying that!
SM: Yes, I know what youmean. It’s almost a gang scene. Everyone except Molly Hooper is there, everycharacter are there, standing there and a serailmoment dignity for Lestrade, he did somethingcheaky and clever, which you know Sherlock never appreciates. He never actuallyset on things. Actually that is quite 

SV: And Iwas chatting away with the producer like you know at some…on budget, onschedule… I was quite jealous, really~~
MG: Yes,just get this film           Davidson mother          .
SM: Andthat’s the moment when we are able to… we thought he’s going to…in fact he’sleft his coat downstairs mean’s Sherlock is going to the final scene with his coat on.
MG: So,Steve, talk us three about the version of the Study in Scarlet, the actuallyversion. It is a cab driver. There are twopills but this is obviously a very different take on that.
SM: Well, inthe original it’s revenge. In fact the murderer is exacting revenge on thepeople who killed his wife in America. And it’s terrible people that are beingkilled, truly awful people that are being killed.
MG: Notinnocent victims.
SM: Butsince he is such a religious and sort of a moral man, he gave them all achance. He’s sort of allowing God to decide which of them should survive.
MG: And it’sdecided that God is on his side.
SM: Yes, ithas. But you know the weakness of the Study In Scarlet is that there isa huge long flashback to justify. The flashback is tedious. So we just gave himsimpler motive. He just likes offing people. Hekeeps the aneurism that is in the original book has aswell. And he is Jefferson Hope in the original so it’s called Jeff, Jeff Hope.To be killed by a man called “Hope”, it’s sucha terrible thing, isn’t it? And he is a cabbie and in fact he is…in the versionhe is brought to Baker Street.
MG: He’sready to tell the story.
SM: Hebecomes as a cabbie to pick up Sherlock Holmes in case Sherlock Holmes put the handcuffon him. And I’m the first to talk about it. The thing is… the thing the Doyle missed is that Sherlock Holmes should have been facedby the pills. You know, it’s such a great, brilliant.It’s one of the casual moments of genius that Doyle is replete with. You know,the idea of two pills and you’ve got to take one is absolutely brilliant andit’s kind of,          doesn’t even know its brilliance. Just make the star.
MG: He justmake it end of the story.
SV: I meanthis is the addict, isn’t it? Sherlock, in fact, he just can’t say no.
SM: Oh yes. This is danger. This is what he substitutes,somewhere he in this version when he was young and mad, he took drugs to getthis kind of high. And it’s the deadly think thatyou could end the murderer now, you could end the killers pray now and it’sover.
MG: But heneeds to know.
SM: He needsto know more than he needs to stop it. But again we’re now talking about role andrefining Sherlock. That’s really… He’s chosen a side and that’s line withWatson is          too laborious, you know. He chose the side ofangles because there are more rules. It’s more difficult.
MG: Made itharder for himself.
SM: But youknow, this is raw refining Sherlock. I think, as the story…the original storyis progress it was not long before he would say “hewould happily die to stop Moriarty”. You know, and meeting tothat art, too. He is… he decided he is not merely on the side of the angels. Heis, in the end, an angel, maybe a slightly naughty one, but… maybe not thenicest one, but he is one of them. But that’s a brilliantprogression. That’s a great story to tell.


you mean the door. It’s beautiful. Charlie Philips, very brilliant CharliePhillips.
MG: Actuallymy favorite bit for Phil in this final confrontation is when Sherlock turnedthe table and played his version, his game. And it really nails him, about hischildren. And there is a moment of actual vulnerability when Phil says:”You’re good, aren’t you?”... It’s suddenly reallyeffective.
SV: I likethe bit where Phil talks about his sponsor, how he is better than him. And justthe way he twitches his nose, yes , Benedict’s nose. He wrinkles it indistaste.
MG: Wherewas this… It was back in the university…
SV: It was in the university… yes, Cardiff university.
SM: Rather alovely room, yeah. We found the room and we were ruined at the fact we couldn’tuse it. Cause it doesn’t has another building opposite, until…And it seems soobvious creative.
SV: At theend it does.
SM: You didwhat you do in films. You made it up!
SM: And hereis couple of…
MG: Andthere in the pilot this was a scene in Baker Street, and it was a decision to really sort of go with the story. I suppose in a wayit sort of came back and we thought actuallythere has been Baker Street a lot and it was one of those things where in real life actually maybe it’s better toexplore more of London and the world of Sherlock, instead of just saying “Thisis where it all happens”.
SM: It’s adelicate          cause you want to see quite a lot of BakerStreet at first, I think, cause it’s your new pre-seeing. But we have this drugbust scene noticed xxx and we get here again. The other big change we made is aninteresting one. It was controversial. I think it wasarguing with which the last second was. In the pilot you don’t know Johnis the one man who shoots the taxi driver. Youdon’t know John was following Sherlock. You just lose John altogether and Ithought it’d be really great for us to realize at the same moment as Sherlockis making the deduction of who it must have been and like ”Oh my god it’sJohn”. But then I just thought it just slightlykill the scenethat for two reasons. It was this nothing to cutaway from. You justhave the two blokesin the table. And also it hadn’t been so much John story up until that one andto simply not know what he was up to felt like breaking grammar on that.   （*bloke: 英式英语里面的mate或者man）
MG: But I think this way, I mean, you getaway with both things because there’s a build of attention to have something tocutaway to. And it’s the wrong thing. So I just… when you thought the coverage is coming, it’s not.
SM: Wellit’s pretty a cliché the John will rescue him in time. No he won’t. Yes hewill. Because you forgot he has got a gun. And again that’s a sort of… I don’tknow if there’s actually a staple of the story at all as if it feels so but it stays awayfrom the benefit that John Watson savesSherlock’s life. You know if feels like all the time, lots of time that it …butit doesn’t really has. It feels like though he’s the one who always leaps andsaves him from the hunt which he doesn’t do atall.
MG: It’sinteresting that talking about modern equivalents, you actually stretch it tomake a story which is definitely a world but larger than life. I was sayingabout cabs. They haven’t got much money but they got lots of cabs because youcan’t put them on the bus. They have to be in the back of a cab and that immediatelygives you an equivalent. And interesting another one, I think, is John’srevolver, John’s gun from Afghanistan. Now, you really wouldn’t be runninground London…you wouldn’t be allowed! But of course we’ve got to do it, notjust because it feels right for John Watson to have his service revolver, whateverthe modern equivalent is, but actually because really they’re not going intosub-post offices if you’re being robbed. These are big stories. It waspeople get killed and they need to be defending themselves.
SM: Also, we never actuallysay how he got that gun. It’s just there. It’s one of those marvelous thingsyou can 

do in television:you say “He’s got a gun” and it doesn’t seemincredible that a military man would have one. Maybe not supposed to have itbut he’s got it.
MG: It’d bedifferent in America. This scene would end very differently, with massiveshoot-out. Sherlock’s got ten!
SM: Here’s a… I’m always on nerve by the scene. It does not hold. It’s just two blokestalking but…that starts like folds talking but you know it’s twobeautifully shot scene, superbly shot and it’s Benedict Cumberbatch that’s… itdoesn’t get better really. It’s just two great faces of it.
SV:Just watching how…
MG: It’sfunny again talking about Sherlock’s look. We decided very early on taking thatquote of the story that he has a certain quite primitive dress. They’re verynice suits, not flashy. He’s actually a quite conservative dresser but onething we know we needed to have was that coat. And actually the scarf kind ofarrived and Benedict liked the scarf and we shot the pilot in winter and weshot the series very much in winter and it was necessary but it gives yousomething that… It’s funny that maybe more of…there’s an American illustration.We have the big pale, the sort of look… But it gives you the xxx which isseriously recognizable. One thing that you never would actually…we rarely seehim just in his suit. And I wonder what he would wear in the summer.
SM: Well suchthings we’ll have to decide but it’s that thingthat makes your hero recognizable from every angle instantly which of course isa coat that you drew away because that’s not what a detective wants to be. Hewas recognizable man in the room.
MG: Welcomeback commander of Bond!
SV:          have a shapely man         
SM: Butthat’s a great coat. But again I suppose we’re actually accidentally followingthe path of the universal Rathbone and Bruce’s because they gave them a greatcoat, don’t they? Rathbone has um…
MG: Wellbecause he’s suddenly…It’s in the present day and there isn’t a xxx oranything. It’s just a coat.
SM: Yes he’drather gaggingin the very first of the Rathbone and Bruce’s where he goes and pick up hisdeerstalker and Najil Rathbone said “no no, you promised”, in such a differentway.
MG: Youpromised so what’s that about.
SM: Theyliterally know they’d be transplanted in time cause it’s not 1895.
MG: You’vedone that. But then you know it’s part of again in the private life of Sherlock Holmes, awonderful joke about the fact that, you know, you’ve settled in this improbablecostume which the public now expect him to wear. It’s fantastic. It’sincredibly self referential. It really was.
SM: And it’sbeautiful. And, you know, if we do get to do any more of these as we are—and I very much hope we will—we’re gonnaget that deerstalker in! I mean it just doesn’t…
MG: Yes, yousaid someone would… it’s really like a paparazzi of Sherlock just driving all the xxx stunk.


SM: I thinkif he was in the middle of doing something hugely heroic and he happens to getphotograph and that brings the image that everyone has of him and he just have to giving them.
MG: That’sreminding me cause I remember way back when Benedict first came in for acostume fitting and he said...There was Ray Homan who did the pilot. He emailedhim three pictures of him in the deerstalker in the pilot. And just for amoment a moment I remember going “Are you…? Oh!” There is the splash of… Thisis what we felt would work this time.
SM: It’s oneof those things that people keep asking about facts, people who read SherlockHolmes. He didn’t really wear a deerstalker on stories. Of course he kinda did,yes. Because Cidney Patchy drew them. You know there was little illustrationbut it was there from the very beginning, it’s not a Hollywood invention.
MG: He getthose things that became…I mean it’s so often that it’s just a way of fillingup news print or introducing in a news item.But actually it’s slightly obsession with the elementary xxx it was. Why is ita big thing that is never said?
SM: Thingsthat are very perfectly feasible in theSherlock Holmes dialogue.
MG: Why?It’s alright, isn’t it? There’s a lot of things that he didn’t say. I don’tknow it’s become a middle of a catch phrase but… and the deerstalker is thesame thatit’s not referred to directly but it’s obvious.
SM: I hadone the news the other day that Sherlock Holmes actually never said“elementary” which he said of course lots of times. But now it’s… as you say, doesn’tmatter. Perfect good line. Though we actually again had a little agony of “elementary” but we justthought “No. Modern man doesn’t say elementary”. It’s too much for show -offfan.
MG: We’llfind a way. He says meretricious which I kinda like.
SM: Yeah.But even there you immediately undercut it. Itwas like someone notice that this would…
MG: Yes.“Holmes, you’ve promised”.
SM: But it’snot like anyone seen it actually noticed it’s a toy. It’s the …
SV: Wellthat’s a CGI shot. Yeah, the flame.
MG: Causethe gun was actually made of liquorish!
SM: It was areal gun and he shot Benedict twice!
MG: What youdo if you are kidnapped and given the option of pills or gun? Would you justtry to take a risk and get a shot in the head?
SV: I thinkit’s a toy gun now!
MG: Well now, that oh yes, obviously now.
SM: Uh, it’sa tough one. I assume in another murder scene it would be a little more practive with the gun.
MG: A bitmore terrifying, yeah.
SM: BecauseI’d still bet, if it’s a real gun, I’d still bet Benedict overpowering him. Andof course at that point I just leave. I have to say, this is a absolutely illustration which is in a slightly morefront way than the the pilot. He can’t quite not do it. It’s the addiction ofhis nature coming out.
MG: Did youever made a decision on how Jeff Hope would know the difference?
SM: Just heabsolutely knows like in the show game he knows which one is in which pocked sohe’s not just like he’s marked, he’s just memorized which one he dozed.
MG: Oh Ibelieve it’s got him completely confused. It’s like “Oh god which one? ActuallyI’ve changed my mind.”
SV: Wellthat is his risk anyway, isn’t it?
SM: Yeah buthe’s risk is in that if he gets in that and tried to manipulate them in a sortof “dead and burnt” way…


ѕM: Well that’s a thing that has never questioned in any of the stories. Even though you know, doctor Watson wasn’t a geniuѕ by any way but Sherlock Holmes was actually clear that doctor Watson is the most reliable man in the world, more than anybody else. He’s the one he would trust absolutely to do exactly what he says he will. And that’s what I think Martin embodied then man of trust...SV: Whatever iѕ Martin doing I think he has a word for every occasion. I think I remember him saying that in the second episode, I think, when he goes for a date and there’s something in his word just like “Oh, I’m s1ightly hopeful”. With the girl, I would mean.MG: I say, someday if we do more, I’d love to play with is the idea of “Watson is a lady killer” and he’s already starting. It’d be great fun to explore that. ѕM: Well I think we’ve established it pretty well in this scene. The only time we see him alone with woman. Only liberated is exempted.MG: Why is that?ѕM: I think because she’s got a fan for Sherlock. And actually she’s a little bit hacked off that she doesn’t remember him. I think John, old John Watson, is immediately on the alert like a cat. “There’s a woman in the room!”MG: Yes, a beautiful woman. The original dialogue here was that John Watson says “Who is that beautiful man?”ѕM: But then we cast it…when the actor failed to show out. Mark, would you mind popping on?MG: Yeah I was actually on set this day… “come on and get the suit on”.ѕM: Again it’s a marvelous cheat there, isn’t it? That sinister is in the middle of that gives us such energy. They just turned out to be nothing more than a. SV: Yeѕ. (laugh)MG: And yes we’ve made this decision that Mycroft would have a yo-yoing weight problem. And it was…we did actually a bit...SV: to give you some freed0m.MG: It giveѕ me freed0m between hopeful seasons to let myself go. And we had pills on the desk and he’s going to be taking diet pills. Somehow Sherlock never has to struggle with. ѕM: All just because Mycroft is fat in the original.MG: But again it’s about having fun, isn’t it? Not just doing the obvious, I suppose. And again I think because looking back to the Wilder film…they didn’t think of it. They just cast Christopher everything they want him to do and sort of become the interesting thing you want to…ѕM: We’ve got far more interesting in Mycroft I think, because I think he is perfect and sardonic. MG: and scarier. And anyone who is convincing him is Sherlock’s equal comes superior. ѕM: I love this. This is so funny. ALL: (laugh)MG: It’s funny he’s got two girls.ѕM: He really goes for it, doesn’t he?MG: Poor old John. And it is one of those things the deductions thankfully you don’t have to explain…SM: And I love those. And it’s turns up to genes.MG: It’s really my favorite scene. SM: Cause it’s interrupted in your critical moment. SV: But Paul Mcguigan the other day says “what is that”. SM: Actually he’s quite sort out details.MG: Yes, the software designer by his tie. SM: Yes, the airline pilot, on the left thumb… You turned it from… There was something else, there was a plummer by left thumb or something you turned into the airline pilot and something else so I just think sort of really “I’m having that.” And it’ѕ better but bewildering.SV: But John Lesto was doing the online thing, finding out the things about the green ladder.MG: Yeah they’re entering the green ladder. And there we go!SM: Our heroes. It sort of came up of the last line “Sherlock Holmes and Doctor Watson”. It was a thrilling moment and you get to say it which is…MG: Oh it was Rupert and when we did this version and you said “Well, it’s clearly the writers talking, so it should be you!” Anyway, thanks to everyone for your incredible work. SM: And now I think the most beautifully designed final title cut perhaps in this show ever and I think it’s elegant the way those different elements are blending together and in fact I think if there were available wall paper I’d slip my own throat.

终于完整的发完了啊啊……审核的快要死掉了……各种修改敏感字……我摸摸的爬走了 也就只能干点这个了……去写论文了……

呵呵，我也没改进多少，还是有一些没有听出来的空着在呢
希望哪位高人继续指点啊~

@红豆奶糕 知道贴吧有个键叫高级搜索吗？说你傻B 你还真就是傻B 哈哈哈哈宩EUヒウュ