"It’s a very personal thing this, but when I was in Poirot a few years ago I was filming the day before I got married and I had a wonderful day on the set - everyone was so lovely, we’d been filming in Morocco and everything was very joyous, and I thought ‘Isn’t this lovely, I’m in Poirot!’ And as I was leaving David came over to wish me good luck, and when he’s dressed as Poirot he still does the voice and everything, and he kind of blessed me as Poirot. It sounds slightly silly but it really moved me, it felt like all my Sunday nights were patting me on the head, it was very charming of him." [x]
An Edit a Day - Benedict Cumberbatch - [382/?]
This is from Empty Hearse filming.
Rupert Graves has done the ALS Ice Bucket Challenge.
Good on ya Rupert.
'The Cameras of Sherlock' - Behind the Scenes on BBC Sherlock - Benedict Cumberbatch & crew on set & lots of cameras! - (x)
I like the one of Arwel in the camera bank going ‘my turn?!’
Sherlock’s His Last Vow wins
threeFOUR Emmys tonight
Primetime Emmys to follow on August 25th
Yan Miles Won an Emmy for Editing Sherlock, His Last Vow!
You’re looking at Shezza getting his comeuppance before the scene was edited! On the left is what A Camera is recording (the main camera that captures the action) and B Camera on the right (the secondary camera that captures either another angle of the main action, or the actions of characters that are secondary to the main action). Yan Miles won an Emmy for artfully editing the footage from these cameras into a coherent story.
[Single-Camera editing, then, doesn’t mean the footage only comes from one camera. Multi-camera editing which is what you get on a soundstage, for example, when multiple cameras are pointed at a scene from the position of where the studio audience sits (the missing 4th wall.) In multi-camera editing the whole cast is present and plays out the action sequentially. This is the kind of set up you have for game shows, most sit-coms— anything before a live studio audience.]
Benedict Cumberbatch filming ‘The Fall’ - April 2013 - (x)
"So, have you read it?"
No, wait, wait. I mean, we’ve all been sort of assuming John hasn’t? But. Then I read Grace’s tags (‘he read it’!), and rewatched that bit again (and again). Oh my god. Ohhh my god. Guys. Guys(!!!) He looks at Mary when she asks him if he read the flash drive: top gif. Then he plays with it for a moment, not answering:
Then we have his look in the bottom gif, which welovethebeekeeper analyzed pretty well: this is the ‘curtain reveal’ in terms of body-language. As I wrote recently, I think the best lie for John to tell is one that works through using the truth and misdirection or omission. On that note, we have this bit of dialogue as he twirls the drive:
JOHN: W-would you come here a moment?
MARY (shaking her head): No. Tell me. Have you?
JOHN (in an exasperated voice): Just …
(He pauses and seems to rein in his temper.)
JOHN (more calmly): … come here. (x)
In other words, he avoids responding to Mary’s question for the second time: total red flag for someone uncomfortable with lying. He’s also stressed and easily irritated. It’s actually transparent. Marked avoidance, irritation— or defensiveness, and lowered eyes. My god, rather than asking if he’s lying, one should ask how could he possibly be genuine? Of course, yes, he read it.
I very much like the idea of this. It explains well the ‘why’ of Mary having the AGRA flash drive in the first place.
But I sometimes have problems with attempting to analyze the actor’s acting decisions so very closely to explain complicated metas. Because to me, it’s just extremely talented actors making brilliant acting decisions.