Lyubitchkina: переводы

→Sue: I had a letter from somebody the other day – one of the fans handed me a letter. And they were just saying that they loved to be there – and the fact that they see a bit of filming is fine. They’ve just made firm friends from all different countries that they wouldn’t normally have met, and they meet up now and then and have drinks and ... It seems to have kind of facilitated people’s friendships.

→Steven: And I do think that’s where storytelling comes from.

→Mark: We are fans of Sherlock Holmes. That’s why this show exists and, I dare say, I think why it’s a success is because we live and breathe and love it. And every single bit of it is about loving the characters. We’ve done the thing of starting them early. The idea – if we could – of finding Martin and Benedict in these chairs aged fifty, sort of like the age that Holmes and Watson are usually portrayed, is sensational.

→Mark: In the third series we’ve got the return; we’ve got John and Mary’s wedding; we’ve got this colossal revelation; plus a clash with an incredible world-class baddie. What we want to do for a fourth series is match that. But it’s not a question of saying, “Well, we need a baddie on that scale.” It’s about trying to find stories that have that kind of scale to them.

→Sue: It’s weird, ’cause when we first started shooting Sherlock, we were filming around Trafalgar Square, and Piccadilly Circus, and we could film and nobody would even notice us there at all. We’ve just recently been to North Gower Street, and we reckon there was between about six hundred and a thousand people turned up. The cast pull up and there’s a huge round of applause, and they get out; and then they’re all very quiet when we do a take; then they would applaud again when we finish.

→Steven: Yeah, yeah. He did it for, like, ten years!

→Mark: The deductions are the hardest part, as Doyle himself knew, and there’s a reason why they sort of fade out in the original stories quite quickly. (He laughs.) Because they’re just very difficult. Every now and then, something just occurs to you. Doyle used to work backwards and sort of put soil over something. And then, like a magician, you don’t reveal your workings, and then it looks like a brilliant revelation. But they are bloody hard.

→Steven: They’re funny. Sherlock Holmes is a funny character. Doctor Watson is a funny character. They’re designed ... they’re genuinely a comedy double-act.

→Steven: We laugh a great deal when we’re planning Sherlock. One of the things about Sherlock Holmes that quite often gets missed – not ... it wasn’t missed by Billy Wilder; it wasn’t missed by Rathbone and Bruce; but missed a lot – is how funny those stories are.

→Steven: Yeah.

→Mark: It’s a series about a detective; it’s not a detective series. The Story of the Week is as nothing compared to the relationship between those two characters and their increasingly large family of characters.

→Mark: Lars is a fantastically respected actor. People know him from The Killing, but I think this is a ... I really believe this is another star-making part, ’cause he’s immaculate.

→[We saw what you nearly said there, Martin!]

→Martin: He’s a great, great villain; and he’s being played f-f-f-flipping brilliantly.

→Mark: In Episode 3, which is based on Charles Augustus Milverton – and in the original story he does become engaged to Milverton’s maid, heartlessly, which Steven has extrapolated into this thing and it’s amazing! John Watson’s reaction is like ... it’s our reaction, it’s the audience’s – it’s like, “But you’re behaving like a human being here!” And it is ...

→Mark: He’d treat it as a problem.

→Mark: We play a sort of parlour game of, “What would Sherlock be like in ... dot dot dot?” And the great thrill and revelation of that was, “Well, he’d be the best man, wouldn’t he? And what would Sherlock Holmes’ best man speech be like?! A train wreck? Or what if he was brilliant at it?”

→Steven: One of the themes of this series, which wasn’t stated at the beginning, but I think has emerged in what we’ve done, is Sherlock Holmes versus the real world. He does sort of get involved in real-life things: like going to a wedding, having – possibly – a girlfriend, all those things. Updating Sherlock Holmes means putting him in our world and seeing what he makes of it – that’s what it really means.

→Martin: We were all wondering, when we got the script, like, “How are they gonna deal with that?” and I think it’s ... I hope we do it well, but I think it’s potentially very good.

→Mark: The reunion for John and Sherlock – it makes my hair stand on end. It’s just the ... it’s so beautifully played. Martin – the complex emotions you see of astonishment and grief and rage, all flickering through his eyes. And then Sherlock, like an exposed little kid, going, “I think I might have misjudged this one.” (He laughs.) It’s a joy.