@freebatcharchive Well I think he over sells how well made and great Sherlock is, which suggests that someone from the Sherlock team has been in touch. We know that whenever a cast member [usually Ben] says something about the show which is not towing the party line, that they either have to clarify/retract or one of TPTB give a contradicting statement to the press. Moffat did this during s4 when Ben let it slip too early that it seemed like a good place to stop. Moffat quickly corrected it by saying there may be a ‘pause’ but not a hard stop. That continues to be the official line on the matter. Martin has been asked to make it clear that he may be back. Also MF clearly loves John Watson, he’s very determined and honest about that. He’s also being truthful about Ben and his regard for Ben in the role and his enjoyment of working with him.
He tries to mitigate how he feels over the issue of stardom and the fan base. Martin is a private person, think about it, his every move, word, facial expression, has been analysed by fandom and that must seem very intrusive. He has heard, albeit not completely correct imho, via Amanda about her experiences with fans, especially the negative ones. He knows Ben had a scary stalker on s4 and that Ben came to him worried over it. Plus Martin lurks on social media, and he does know what we say on here. So we have to take this into account, that his lived experience of fandom is very different to ours. In fact it must feel like ‘doxing’. He’s exposed by us. Would any of us really want that? So he’s doing his best here to not change his previous statements on fandom spoiling his work life, yet to be more diplomatic.
I FUCKING KNEW WHAT THIS WAS GOING TO BE AND I STILL DIED
someone tell tptb that they need to re-edit shspesh right now, I don’t even care if it delays it by a few weeks – David Arnold and Michael Price will understand
What do you mean re-edit? This is exactly how it was in the trailer I saw it
Ok, I just spent forever looking for this in the archives. We can never let this die!
How come this doesn’t have more notes! THIS is how Sherlock sees his pretty damn smart sexy little army doctor he wants to be corrected and forcibly handled by and elope with! I’m merely decribing THIS IS CANON.
THIS GAY SHOT WON AN EMMY.
HOW HAVE I NOT SEEN THIS BEFORE
WHY AM I LAUGHING SO HARD
“THE MOMENT YOU REALISE IT’S ALL SHERLOCK’S FEVER DREAM IT GETS GAYER”
— a YouTube comment I saw long ago and stayed with me, engraved with fire in my heart…
Visualizing Camera Movement in Scene I of Sherlock’s “The Six Thatchers”
Camera movement is one of the most basic aspects of cinematic storytelling and when you notice it, it’s usually because you’re meant to. The kind of camera movement I’m mapping in my Sherlock video above is extremely subtle. It’s not the kind of camera work that will win awards or accolades because it’s as fundamental to cinematic (and now television) grammar as as my first person writing style is to this meta. You’ll see a restless camera everywhere now that I’ve brought it to your attention.
In the case of Sherlock the first of six similar shots in T6T’s introduction is the only completely static shot where the camera doesn’t move at all, and it’s the shot that establishes Sherlock’s boredom. His total disengagement from Mycroft’s proceedings has gone unnoticed for a spell until Mycroft realizes his little brother has been too still, too quiet for too long- while silently and flippantly tweeting.
Here are some examples of more obvious camera work. It’s a short video and worth a gander.
Interesting! It’s striking that the director would make this choice, given that I assume a static camera would be the easiest, most intuitive choice. Why bother with a moving camera for such a subtle effect? But it’s true that it does make the scene just a bit more visually interesting, even when we’re not consciously aware of it.
Sherlock Fandom Archive 