Sherlock Four
It’s a strange day at the office when one moment Paul Weller is sitting next to you, dressed as a Viking and the next you’re playing the violin in a mental asylum opposite Benedict Cumberbatch. Strange, but brilliant.
I had bumped into Mark Gatiss months earlier whilst walking the dogs, and he had gleefully forewarned me that season four, episode three would involve a LOT of violining. He wasn’t wrong. I mean he wouldn’t be - he should know.
A few weeks passed and a voice message came up on my phone. BC. Benedict. He had left a lovely message, asking after my wellbeing, my family and whether I’d be able to coach him in Ealing today. On the set of Doctor Strange. I like to think I played it cool, and I’m going to keep telling myself that. I was out with the dogs at the time. I should point out that I had been home in between these events, I don’t just wander the local parks, hoping for some work on Sherlock, (although that tactic has proved quite fruitful of late). Time was of the essence so I skipped home, swapped the dogs for my violin and headed to Ealing, in my muddy paw mark adorned jeans. Yeah. Super cool and not at all like a swamp creature.
Benedict needed to learn three pieces, one of which wasn’t yet written. He swished off set and called me into his dressing room to recap on all things violin. “Don’t touch the beard!” pleaded his makeup artist, “he’s back on set any minute”. His hands were covered in scars, which he insisted they sprayed with fixative away from me, what a gent. We just got started and he was called back on set. He offered me his dressing room while he was on set and to make myself at home. Tilda Swinton appeared In the doorway asking if I knew where Benedict was. This is always happening to me at home. Over the next few hours of grabbed moments, as well as in Cardiff on the set of Sherlock, and once at his house, we managed to work out 1) what he needed to play 2) that there was one hell of a lot to play and memorise whilst also delivering lines in some intensely emotionally charged scenes and 3)that he is a perfectionist and holds himself to the highest standards at all times.
But we knew #3 already.
Meanwhile David Arnold had met up with Ben Caron, the director to discuss the best way to approach the filming of this sequence. It would take some doing but it could be done.
I was coaching Benedict in his Sherlock trailer, with Ben Caron and David Arnold. We tried out timings to see how to fit the music with the dialogue to make sure we hit the right point in the music at the right time for the script.
For the first time on Sherlock there were to be two people playing the violin. Sherlock, and his sister, Eurus.
I was called by the lovely Siân Brooke, for some coaching at RADA. Benedict and Siân were both equally trepidatious of the huge task ahead of them, and concerned to find out how the other one was faring. Siân had played the cello on a film before, so had some experience of playing a stringed instrument.
Despite Benedict and Siân being exceptionally fast learners, coaching was hard at first because the final big duet hadn’t yet been written- this scene was scheduled to be filmed near the beginning of the whole shoot, so David Arnold and Michael Price, the composers on Sherlock had only just discovered they needed to write this epic duet at the same time as I was meant to be coaching. But there was a lot to be done anyway- recapping on stance and how to hold the bow, what angle to hold the arms and wrists etc. As with previous screen coaching, I’d say it’s 70% choreography, 30% actual playing and 10% bad maths.
Once the duet was written I picked some small ‘key’ passages of the music for them to learn. Learning the whole duet as well as the other two themes, ‘Irene’s theme’ and ‘Eurus’s Theme’ would be a huge ask, what with having to learn the violin from scratch and everything. I recorded video clips for both Siân and Benedict to help them practice in between lessons. Because they had LOADS of time to do that. (None).
The final scene of the series was to be a 360 shot of the two duetting together, tentatively at first, in a question and answer conversation of sorts, then beginning to build. It’s a beautiful piece of music, perfectly conveying all the shifting emotions of the series, gathering strength until the full orchestra joins for the rousing Sherlock Theme
Filming
The atmosphere around the sets was very warm and familial, people bringing in kids and swapping baby photos, handing around biscuits, that sort of thing.
But when I was taken onto the actual set for the first time, Eurus’s cell- I felt a cold shudder. That Arwel Wyn Jones certainly knows how to design a set. All cold, grey surfaces, no windows or door handles and 360 degree security cameras really created a chilling atmosphere. I was fitted with a radio in-ear monitor so that I could hear the cues from Ben, the director.
The first thing to to be filmed was Sherlock’s reaction to Eurus’s playing. Benedict asked that I play the theme there live in order to help him cry. Sweet revenge for last time when he made me cry: previously on A Scandal in Belgravia, his tearing up when playing Irene’s theme had made me tear up - which was good because the alternative would be bricking myself. I could get quite nervous in these situations - there are a LOT of people involved on set, and they all fall silent before the director calls “set, and… action” - but he is an utterly captivating actor, he draws you in so that everything else drops away. You forget yourself and all that’s left is the moment. Ben Caron helped create this warm atmosphere on set, by being incredibly calm and friendly whilst being clear about what he wanted. I was grateful given the pressure everyone was under that he wasn’t one for barking orders or steamrollering anyone. When I didn’t know what a particular visual cue was (I didn’t have a script- but there’s a scene in Eurus’s cell when Sherlock enters for the first time. She is playing a tune- Sherlock steps forward, the lights change, Eurus plays angrily, he steps back and she resumes playing the tune) Ben patiently and calmly explained those cues and we carried on- it felt like no biggy despite the massive time constraints he was under. It makes for a good working atmosphere and I’m sure it means that things get done more quickly and to a higher standard because people aren’t loaded with any unnecessary extra stress.
We all rushed off with an early end that day because Wales was playing Belgium in the quarter finals. We won 3-1 and there was rainbow over Cardiff (my second favourite type of bow.)
On the second day we were shooting close-ups for the big duet. Depending on the shot, Either Sherlock or Eurus would play the theme alone, following my movements. The final day of violining was the final duet scene again in 360, but this time they were filming full-length shots. The biggy. After all the planning and rehearsals and coaching and memorising and camera rehearsals this was it. I’d play in the eyeline of Sherlock and Eurus, because I had the track in my in-ear monitor, so they could keep in time with that. As the camera spun through its 360 movement I sometimes had to move to avoid being in shot. To their huge credit- and despite the considerable stress of the task, let alone of the scenes and plot line and all the acting- they were so patient and diligent and just totally on it. Of the violin scenes- this was the one everyone was most worried about. Once it was in the can, cheers and whoops were let out (but in a Welsh way, ŴP! ) Benedict and Siân had done an amazing job. The cast and crew then erupted into a big chorus of Happy Birthday for Ben Caron’s 40th. The relief. And the cake. He said that successfully completing that scene was the best birthday present he could have hoped for.
Recording the music
Once all the filming and editing is completed- the music is recorded. We knew we’d need someone other than me to record Eurus’s violin parts to the picture, as she had a Stradivarius and had taught Sherlock how to play, so their sounds would naturally be quite different from one another. I knew that my long time band-mate, Tania Davis would be perfect, so David Arnold asked her and she gladly accepted. Tania and I have been playing together for 17 years *cough* ( www.bondquartet.com ) and we have a natural rapport. She is a stunning player and has a beautiful violin too. Set up with two music stands and a screen in our own little space ship in Air Studios, we were set to record to the picture. We do this for a clean recording with no distracting, or unwanted background noises and because during the edit things can change synch and be slightly out of time with the picture. For example they might choose a shot because the actor’s performance is the perfect one- but the violin isn’t quite in time. Indeed, a childhood folk song was added after filming had ended, which we had to match to existing shots of a different theme being played. All fun and games!
We ended the afternoon on the first take of the duet, when Tania’s E string broke on the final chord - which spookily was the initial promo picture for this episode. It was obviously meant to be!
