nicishi:

fffinnagain:

Some times experiments don’t work out. Sometime big projects include mistakes and it takes a lot of compromises to satisfy the real goal. So was the case with The Six Thatchers.

To a room of ~100 people, Rachel Talalay explained something of the complicated backstory to the first episode of Series 4 and shared with us a little of the amazing footage that had to be left on the cutting room floor.

In Mark Gatiss’s initial script, the story was going to be told with a complicated chronology. The story was supposed to start somewhere in the middle, with flashbacks inserted into scenes. This show has played with chronology before, but this plan was more ambitions and experimental than previous episodes. In the spirit of Sherlock’s cinematographic ingenuity, Talalay decided to demarcate these flashbacks with fantastic transitions in and out of the scenes into which they were inlayed.  

The filming proceeded with this non-chronological order of scenes, but when the material was assembled in a temp edit, it became apparent that the narrative didn’t really work. Talalay had her doubts about how it came together, and Moffat and Gatiss made the call to change the sequence to the straight forward chronology we saw broadcast. Talalay took pains to explain that the switch was necessary for the sake of the story and that no one was at fault for how the experiment failed. They took a risk together and these things don’t always pan out.

The choice to reorder was the right one, but it was also a very difficult compromise for two reasons. First it changed the purpose of many scenes, and with no time to reshoot they had to work out new criteria to determine the best takes to make a cohesive narrative from what they had. Second, it meant abandoning these amazing transitions that were in and of themselves creative and technical acheivements that each took days to prepare and shoot.

It was these transitions that Talalay shared with us at Sherlocked USA 2018. They will never be released, so here are my descriptions of the transitions she shared. Some of them involve scenes that weren’t part of the final edit at all. I’ve done the best I can to describe what I can remember from seeing these only twice.

1. In and Out of Cars This seems to be on the way to the first case with Greg, on the way to the WELSBOROUGH HOUSE. John, Sherlock, and Greg are in a taxi in the middle of the day. Greg says “So how long has it been then” and John replies “Three months.” Sherlock rises from his right-forward facing seat and steps out of the passenger door into day light. The camera approaches his back until we only see the coat. Camera recedes and it is night. Sherlock steps back into the right passenger seat while typing in his mobile and Mary is wheezing in labour. The camera pivots to also catch John at the steering wheel, as seen in the show. There is another transition back to the original taxi shot and John repeats “About three months.”

2. Walking through Doorways: As Greg, Sherlock, and John approach the door to the Welsborough House, Greg says “…We thought we’d never see you again.” Sherlock replies “You weren’t the only ones.” As Sherlock steps through the doorway, he pass into the room where he and Mycroft are interrogated by Sir Edwin and Lady Smallwood. He sits down and takes off his coat. The scene that followed was the one used to open The Six Thatchers.

At then end of this scene, Sherlock says “Because I love it.” and walks out the door and back into the WELSBOROUGH HOUSE.

3. To and From the Christening: John is looking at bus shelter and a bus goes by and reveals that he is wearing church clothes at the Christening for Rosie. John says to Sherlock something along the lines of “You could come visit Rosie” and Sherlock replies “The conversation would be a bit onesided.”

Another shot of Sherlock approaching the camera down the aisle, framed by the arches of the church. I’m not sure if this transitioned to another scene.

4. Through the Mirror: In the sceen where Mary finds Sherlock in the Moroccan hotel, the shot begins with her standing by the table looking accusing and Sherlock sitting on the floor crossed-legged. Sherlock gets up and walks towards a mirror by a curtain in the back of the room. In the curtain we see a reflection of Mycroft’s underground office. Sherlock walks past the mirror into the scene where Mycroft begins by reciting the wikipedia article for “Agra”

When that scene ends, Sherlock rises from his seat and walks back to the mirror to pass back into the Moroccan hotel room and sits down on the floor again to pick up the conversation with Mary.

5. Lastly, one of the magical transitions that were kept was Ajay remembering his torture and then falling back onto the carpet. Apparently the sequence was initially filmed as a single shot, with four sets lined up side by side. Like wow.

***

I can’t attest that these are perfect descriptions of what was in these shots, and I know I’m missing some details. If anyone else remembers other things, please add them in.

Talalay had every reason to be proud of these transitions. They were breath taking (my descriptions do not do them justice!) and the audience gasped and clapped through the three minutes of footage that she shared. I am so sorry they had to make the compromise of removing these. I understand that it was deemed necessary, and Talalay was very clear that she agreed with the decision to change the order of the scenes, but it is a tragedy that we lost these beautiful tricky transitions.

So now please someone explain how johnlock somehow became TFP.

And as I am typing this it occurs to me, johnlock literally IS -still- the final problem.