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May. 7th, 2012
He talks a lot about Sherlock as a character here, and it's really fascinating.
Excerpt: I don’t. Sorry, I’m just rewinding. [Goes quiet again, thinking, then claps before answering.] No. He gets joy out of detail and what he doesn’t think about is the consequence. So he may be chronicling people’s faults but actually to him it’s just a thrill to point things out that other people might not notice. So for example, when he’s belittling Molly about the size of her breasts and her f—ing card and the presents and it’s just mortifying — he doesn’t know that he’s steering a ship into an iceberg or — wow, I need a better metaphor than that. Charging a train into, I don’t know, something faster … into something more, sort of even. [Laughs.] A bullet into a titanium wall, there we go. He doesn’t realize he’s doing that. He just really gets off on the game. He just really gets off on the idea of being able to do it and exercising that muscle. He’s not looking for fault, really. Well, that’s not always true, but the accidental moments when he does that, he’s not looking for it. And that’s again where John has to right him. I think what often happens is, yeah, he does use it as a power play, obviously, in certain situations to bring the bureaucracy of the police round to heel so [detective] Lestrade is the lap dog he is. And it’s not that, you know, he has a great deal of time and affection for Lestrade; Lestrade is a very good policeman. It’s just that Sherlock is s—loads better. Also, he adores him — well, adores is a strong word for him, but you know, he has a respect and understanding of him because he brings Sherlock along. Sherlock doesn’t work in isolation; he needs the Metropolitan Police. So I don’t think he genuinely looks for faults. I think it has much more to do with the joy of finding details and then threading together a story or narrative out of that detail.
Excerpt: I don’t. Sorry, I’m just rewinding. [Goes quiet again, thinking, then claps before answering.] No. He gets joy out of detail and what he doesn’t think about is the consequence. So he may be chronicling people’s faults but actually to him it’s just a thrill to point things out that other people might not notice. So for example, when he’s belittling Molly about the size of her breasts and her f—ing card and the presents and it’s just mortifying — he doesn’t know that he’s steering a ship into an iceberg or — wow, I need a better metaphor than that. Charging a train into, I don’t know, something faster … into something more, sort of even. [Laughs.] A bullet into a titanium wall, there we go. He doesn’t realize he’s doing that. He just really gets off on the game. He just really gets off on the idea of being able to do it and exercising that muscle. He’s not looking for fault, really. Well, that’s not always true, but the accidental moments when he does that, he’s not looking for it. And that’s again where John has to right him. I think what often happens is, yeah, he does use it as a power play, obviously, in certain situations to bring the bureaucracy of the police round to heel so [detective] Lestrade is the lap dog he is. And it’s not that, you know, he has a great deal of time and affection for Lestrade; Lestrade is a very good policeman. It’s just that Sherlock is s—loads better. Also, he adores him — well, adores is a strong word for him, but you know, he has a respect and understanding of him because he brings Sherlock along. Sherlock doesn’t work in isolation; he needs the Metropolitan Police. So I don’t think he genuinely looks for faults. I think it has much more to do with the joy of finding details and then threading together a story or narrative out of that detail.