MARTIN WAS AFRAID TO SAY IF THEY USED FIRST NAMES, HE SAID “MIND YOUR BUSINESS” B/C HE KNOWS WHAT VICTORIAN MEN CALLING EACH OTHER BY THEIR FIRST NAMES IMPLIES. THIS IS A SPOILER TO HIM. THIS IS A QUESTION THAT COULD’VE BEEN EASILY ANSWERED THAT HE STUMBLED OVER. WOW. CAN Y’ALL TALK ABOUT THIS I’M SCREAMIGN
I am screaming also because I’ve recently read the transcripts of the trials of Oscar Wilde and among the many things they used as proofs to sentence him of “gross indecency”, there was the fact that Wilde (he admitted it himself very nonchalantly), when meeting each other, addressed the men he had sexual and intellectual relationships with using their christian names, which as we all have already said was unusual among victorian men and obviously meant intimacy. So if Holmes or Watson will use the other’s first name within the walls of 221b or in some other private situation where no one can hear them, I will not recover.
Johnny and Benedict’s reaction about a fan’s Bostonbatch post.
WHY DOES HE CONTINUE TO DO THIS STUPID SHIT THO
graham this is honestly so embarrassing
graham norton transcended embarrassing years ago tbh
It’s too bad because I generally like Graham Norton show when there are interesting celebreties on, but with stars like Ben he’s like…… 10/10 embarrassing…..
Some Highlights From the Sherlock: Script To Screen Q and A in Melbourne this week with Mark Gatiss, Steven Moffat and Sue Vertue (aka as much as I can remember!)
When showed the trailer for the
special Mark nudged Steven and said, “Looks good, innit?”
They said they made an effort to not film
in the typical or old parts of London to avoid association with the old
stories, or get bogged down in the ‘old vs. new’ theme.
Mark and Steven agree that Sherlock
is on the brink of becoming a sociopath when John meets him. Just as John is a
broken and damaged man. The reason their friendship works when it really
shouldn’t, according to Mark, is because they repair each other.
When asked if Moriarty also faked his death on the rooftop, both Steven and Mark sniggered and shrugged, while Sue said, “I don’t know either. They don’t tell me what’s going on until later.”
Benedict was the first and only
choice for the role. Moffat saw him in Atonement one evening and called him the
next day.
Benedict doesn’t actually play
the violin and he gets pissy about it. They use cotton strings on the violin
and have a real violinist off camera playing the tune so Benedict can mime.
Mark Gatiss writes notes in the
margins of the script that simply point out Mycroft is smarter than Sherlock.
The show is heavily influenced by
the comedic strokes in The Private Life Of Sherlock Holmes
Andrew Scott’s Moriarty is meant
to symbolise both old fears and new i.e. organised crime vs. the chaos of the
suicide bomber which is hence why he shoots himself to prove his resolve is
unstoppable.
Mark and Steven don’t look at fan
theories and have made an effort not to since the Fall.
Original survival of the
Reichenbach fall was meant to be a magician body swap with Sherlock falling on
a landing while a fake body fell to the ground
Martin called every location they
went to film in series one a “grief hole” because they were shooting in a
record cold winter.
Martin’s reactions to Sherlock’s deductions
get slowly more and more annoyed.
Sherlock’s language gets slightly
more Victorian in seasons 2 and 3 because Benedict was more comfortable saying
them that way so Mark and Steven wrote them more that way.
Benedict’s first reaction to the
news of the Victorian special was “can I get a hair cut?”
Steven and Mark agree that
Benedict and Sherlock would not get along because benedict would think he was
“too rude” and stomp off.
Sue, Steven and Mark all agreed
that A Scandal In Belgravia was the most fun to shoot. (They showed a clip of
the Buckingham Palace sheet blooper and all three of them were gasping they
were laughing so hard.
Mark mused jokingly saying that Benedict
ascends from a cloud to do his auditions now because he is so revered as an
actor.
When asked about whether Mark
writes Mycroft into episodes more because he plays him, Steven defended him
saying that the brilliant Mark Gatiss gave himself a non-speaking role in his
own episode (Hounds)
Mark and Steven talked about how
Holmes and Watson’s first meetings are rarely adapted and a ASiP is one of only
4 they know of that show Holmes and Watson meeting.
Mark read excerpts from the
original Conan Doyle stories.
When asked how Mark got the part
of Mycroft, neither Steven nor Sue quite say how Mark landed the role.
Mark travels with a three piece
suit and it his own suit he is wearing in ASiP when Mycroft meets John because
Mycroft’s trousers had not arrived.
Sherlock’s hand writing is never
the same in any episode.
When asked about adapting
Sherlock’s smoking habit, Steven said that If Sherlock smoked a pipe now he’d
look like a dick head.
Both Mark and Steven said they
were very wigged out writing “Sherlock and John” instead of Holmes and Watson
for a long time.
They hate crossovers and said there
will never be any crossovers with Doctor who or otherwise.
They joked about Moriarty being
an actual spider and that that is actually the plot twist in Season 4.
The text on screen thing seen throughout
the show was a technique they developed to avoid showing phone screens. Mark is
excited that David Fincher openly copied that technique in House of Cards and
admitted to doing so.
According to Sue, Mark and
Steven, Una Stubbs is the only actress who is like her character. Apparently,
after filming ASiP she suggested taking her part out because he was “rubbish”
Originally the BBC wanted 6 60
minute episodes.
The resolutions to the end season
cliff-hangers are rarely planned.
They are currently in the middle
of writing the new series and are past the planning stage.
The special is the first episode
that they have officially and deliberately co-wrote.
Steven respects fan-fic authors
and says fanfiction is a great way to learn to write.
Mark said that in the special it
was a tricky balancing act keeping the character dynamics true to the modern
whilst transposing the characters back to the Victorian times.
When they pitched it to Benedict
they told him every aspect and then said “But it’s 1895”
I GOT TO ASK A QUESTION. I
POINTED OUT THAT STEVEN WAS DRESSED LIKE SHERLOCK (he was waring a purple shirt
and a black suit) AND HE SAID HE WEARS WHAT HIS WIFE TELLS HIM TO AND WHEN I
SAID I WAS A BIG FAN, MARK GATISS INSISTED I SIT IN THE FRONT ROW (I WAS
SITTING IN 3RD ROW) AND I GOT MOVED BECAUSE MARK SAID I SHOULD BE IN
THE FRONT AND THEN WHEN I SAID THEY WERE BRILLIANT AND HAVE WRITTEN MY FAVORITE VERSIONS OF THESE STORIES MARK SAID “THANK YOU, YOU CAN COME AGAIN” and I died.
I also asked about Irene and how
they developed her character when there wasn’t really much to go off in the
original story, they said they wanted to exaggerate her and make her larger
than life in order to confront Sherlock with sex and desire and love without
objectifying her in his affections (hence making her a lesbian, making her a
dominatrix, etc.). They said they write Sherlock as someone who cannot function
when confronted with affection, sex, love and Irene’s character is meant to be
the ultimate embodiment of those things as well as being the only someone “who truly
outwits him.”
Steven says being a writer is the
best job because you just get to make everything up.
Each of them talked about how
they came to love Sherlock Holmes. Steven said he saw him as detective Doctor Who
with a funny hat, while Mark watched the old films before reading the stories
and did an artwork of Sherlock Holmes at school. Sue says she doesn’t read them
and Mark and Steven say that she is their guide in that sense because she helps
them make sure everything still makes sense.
The Fall was filmed twice because
of weather.
Molly was not meant to be a big
character but Loo played her so “magically” they had to put her in more.
Originally as just another person to ogle at Sherlock and as a plot point to
bring Moriarty in, but she has grown from that.
Mark pretended to be shot when
the feedback in the mic made a booming sound.
Mark said one of the hardest deductions
to write was Moriarty being gay because people are so metrosexual now and he
turned to Steven and said let’s just write him saying “yes he’s gay” which is
why the scene starts like that.
The director in the special makes
sure all the extras move at normal pace because in normal period dramas people
move slowly.
Mark and Steven acknowledge that
they would both be rubbish at solving crimes irl and Steven jokes about a
locked room party he went to where he had the key and forgot.
The Special is in many ways a
direct tribute to Jeremy Brett’s Sherlock Holmes.
The Great Game was written before
A Study In Pink and The Blind Banker
Mark was not credited at all in
the first or second episode of season 1 so people would believe he was
Moriarty.
The show is called “Sherlock” but
Mark and Steven pitched it as a co-lead and talked about how John is the heart
and soul of the show in many ways and that sometimes Martin scribbles out
“Sherlock” on the script in biro and writes “John”
Moriarty is meant to be
terrifying because you cannot reason with him.
Often visual metaphors/theories
fans perceive in the show were not penned or intended.
When they played the clip from The Great Game
when Sherlock is wildly playing his violin, Mark remarked with a snigger, “One
of his own compositions.”
As I mentioned earlier, I’m trying to work on a fandom stats follow-up to my post about gender bias in television that looks at how much bias there is in fanworks compared to how much we’d expect there to be based on canon. Before I get too far into my analysis, though, I’d like to make sure I’m asking the right questions. There are so many different ways that bias can come into play, and so many possible factors.
Here are the questions I’ve come up with so far. I’d love feedback/additional thoughts and ideas. You don’t have to be a statsy person to give them. (But it might help if you’ve read or skimmed the first post.)
Reblogging this to get more input from anyone else who is interested – if you click through, you can leave an answer on the original post (or you can leave a longer answer in my askbox/via reblog).
Meanwhile, I’ve gotten a tiny bit distracted (but just for a couple hours!) looking at how creators use warnings, thanks to @otpodcast and their latest episode, which you might want to check out if you’re interested in a thoughtful discussion on warnings, squicks and triggers. Look for a few stats from me soon. 🙂
Sherlock getting Lestrade’s name wrong is a running gag
If lots of characters got Lestrade’s name wrong, that would still just be a running gag
If an antagonist called him “Gavin” during a brightly-lit scene with banter and priest disguises and surprise naked people, that would still just be a running gag
If that antagonist lured him to a dimly-lit Battersea station, and she called him “Gordon” during an intense discussion of death and loyalty and heartbreak, that would be an abrupt tone shift but could still just be a running gag
But if he then said “The name’s Greg” and she replied seriously “No, it’s not”
And he responded with a visible quick intake of breath
And the death-and-heartbreak conversation turned into a serious debate about his first name, with a background of sad music
You’d start to think there was something pretty fucking weird going on
me: [walking down the street, watching the civil war trailer on my phone, screaming and flipping the fuck out in public]
friend: [eyeing me askance]
me: i’m sorry……. he’s my friend
friend: so was i
whimsysmayhem 