00:00 Millie, please make a dozen of these movies.
00:02 They are wonderful, and I never want to stop watching them.
00:04 - Well, you fund to them.
00:05 I'm just kidding.
00:06 - Yeah, hold on a second.
00:07 I've got some money around here somewhere.
00:08 - At last, I would be a detective in my own right,
00:12 worthy of the home's name.
00:14 (Millie screams)
00:18 - Dare I ask?
00:19 - There's a satisfying feeling in any detective story,
00:24 but specifically in these,
00:25 when all the clues snap together
00:27 and it's a bit of a relief
00:28 and you feel a little cathartic
00:30 because we're starting to solve the puzzle, essentially.
00:34 I'm curious if there's an acting equivalent of that feeling.
00:37 - Yeah.
00:38 Last night, you know,
00:41 I was at the premiere and watching the audience watch it.
00:44 That is very cathartic in many ways.
00:49 Oh, gosh, it's just when younger kids come up to me
00:52 and ask me to say lines or, you know,
00:56 say that they love Enola.
00:57 It makes me so happy and so proud.
01:00 And that's the moment that I thought,
01:01 oh, really, I've done something good here.
01:04 - I love your backdrop because I want to ask you about
01:06 221B, which is an iconic location.
01:09 And the set design in particular
01:11 in this movie is so wonderful.
01:12 I'm wondering about how being on that set in particular
01:16 might've influenced your performance.
01:17 - Oh, it was such a wonderful set
01:21 and so rich in detail and things which,
01:24 I mean, some, the audience may never see
01:27 because the angles never covered it,
01:29 but there was detail and character everywhere.
01:33 It's an extraordinary place
01:34 filled with all sorts of contraptions and devices
01:37 and things you'd find in a museum.
01:40 And I, I mean, just shooting on that set,
01:43 I hardly ever left.
01:45 Even in between, like, we had half an hour,
01:48 45 minute, an hour setups.
01:49 They were, the chairs were so comfortable.
01:51 I felt comfortable in that space that,
01:53 as long as I wasn't in the way of the crew
01:55 trying to do their job,
01:56 I would just relax there and soak it all up.
01:59 And I would find something new to,
02:01 to toy around and play with every day.
02:03 - One of the things that I love the most about these movies
02:06 is how things that we are shown earlier
02:08 end up becoming really important later.
02:10 Can you talk about that process
02:12 of making sure you get the coverage that you need
02:14 so that those clues can land with the impact?
02:18 - No, no, that's absolutely right.
02:19 I was, I've always been slightly inspired
02:21 by Antonioni's "Blow Up."
02:24 If you remember that killing idea
02:26 that you could look at a picture
02:27 and then you go back and a detail was there
02:30 which you weren't aware of.
02:31 It sent me a chill down my spine.
02:32 I'd never forgotten that experience of that.
02:35 There's a little bit of that inspiration for me.
02:38 Yes, planting and paying off,
02:41 whether it's, it was something that you didn't think you saw
02:45 but was always there,
02:46 or a very specific plant, like, yes,
02:49 the man on the gantry as she walks up to the backstage.
02:53 And then we, we needed to see him
02:55 in order to the point that we get to the gantry at the end,
02:58 it doesn't feel like a contrivance.
02:59 Everything seems like it's,
03:01 it was, it was, it feels a natural journey.
03:05 - What was something specifically that you wanted to advance
03:08 or evolve in Enola this time out?
03:11 - I wanted to indulge a bit more in her career, her path.
03:14 I really wanted to focus on her being a detective this time
03:19 and we could actually kind of get into the nitty gritty
03:22 of the case, which I think is really important as well.
03:25 So we got to do it this time.
03:26 I started a detective agency.
03:28 - Oh, how old?
03:30 - You're a girl.
03:32 - Tell me.
03:33 - Yes.
03:34 - Might your brother be free?
03:35 I think that's one of the joys of the,
03:37 of going on a journey with a budding detective,
03:42 because they're not always ahead of it.
03:43 They're like us, picking up information
03:46 and we don't quite know what's going to be significant.
03:49 Yeah, the red, the red matches in the,
03:50 in the foreman's office.
03:53 Yeah, there's so many.
03:55 - Enola Holmes, she's a detective.
03:57 Looks like she'd blow over in the wind.
03:59 - Then to that end, do you find yourself observing people
04:03 and trying to make deductions
04:05 now that you've played the part?
04:07 - I can calculate someone really quickly,
04:09 which I mean, it could also come across as judgmental,
04:12 but, but you know, I like to read people's body language
04:16 and I'm quite observant.
04:17 And I think it's just, I grew up around adults
04:21 my whole life, so for me,
04:22 I'm just really observant on all the details.
04:25 - What was your approach to playing drunk?
04:27 - Oh, I mean, I hadn't,
04:29 I don't think I've done it on screen before then.
04:31 And if I have, it was many, many moons ago, but it was,
04:36 I mean, I, I sometimes do, I would like,
04:39 I sometimes pretend I do like a drunk voice
04:42 when I'm, when I'm making a joke,
04:44 if I'm telling a story or something,
04:46 but it was, it was really just about throwing it out there
04:50 and seeing what happens and trying to gauge the audience,
04:54 which is immediately the crew and the director and Millie.
04:58 And it seemed to go well.
04:59 People seemed to be laughing and enjoying it
05:01 and not laughing at me,
05:03 rather than they were laughing with me.
05:05 And so I just thought, okay, well, keep on,
05:07 keep on rolling with this and see if the audience likes it.
05:10 I guess, I guess time will tell.
05:12 - I liked it very much.
05:13 It was very funny.
05:14 When you are breaking the fourth wall,
05:16 is there someone specific that you think
05:19 you are talking to?
05:20 - My mom.
05:21 - Your mom?
05:22 (dramatic music)
05:25 - Perhaps I should explain.
05:27 - Yes, and actually it's funny,
05:28 no one ever has asked me that question.
05:29 So you are a first.
05:31 Yeah, I always think about my mom.
05:33 I always think about talking to my mom
05:34 and then kind of the way I said, you know,
05:36 and that is a job well done.
05:38 I do talk to my mom, like I'm lecturing her half the time.
05:40 And usually she's lecturing me as well.
05:42 So I usually, I think of my mommy.
05:45 - Mother believed privacy was the highest virtue
05:48 and the one most frequently violated.
05:51 - The biggest challenge of the film
05:53 actually was creating the structure of the story.
05:56 It took us a long time.
05:58 It was quite a piece of Jenga really.
06:00 - I can imagine, 'cause you had Sherlock's bit
06:02 to build up so it could overlap as well too.
06:06 - Yeah, you have a more complex
06:08 and mysterious emotional plot with Enola.
06:11 And then you've got a missing girl,
06:13 which is simple and emotional and you can get it.
06:16 - My sister.
06:18 She disappeared a week ago.
06:20 - And then there's Sherlock's puzzle
06:22 that's completely impenetrable,
06:25 which then has to somehow link up.
06:28 Yeah, that was a sort of mental.
06:33 - Why are you here?
06:34 Is it my case or your own?
06:35 - Both.
06:36 - It seems our cases are connected.
06:38 - All right, I have to slip in one quick Superman question.
06:40 I need to know what it meant to you
06:42 to have John Williams' theme song playing behind you
06:45 or accompanying you in the Black Adam cameo.
06:48 - John Williams' theme song is obviously
06:51 incredibly important to the character.
06:54 It's something which resonates with the character.
06:57 And every time, I think anyone in the world hears that,
07:01 anyone in the world, I think a large portion of the world
07:05 who hears that will recognize it immediately as Superman
07:09 and feel a certain way about it.
07:11 And I do think it's wonderful.
07:14 But at the same time, equally so,
07:16 I think Hans Zimmer's "Man of Steel" score
07:19 was just as wonderful.
07:20 I have incredibly powerful feelings about that
07:23 because I remember watching the trailer,
07:27 the first teasers come out,
07:28 and I was sitting down with my friend
07:30 and we were both so excited about it.
07:32 And the way the score plays,
07:34 and both are incredibly powerful in their own way.
07:37 And both are just as iconic for the character.
07:41 And it was just such a pleasure to be back in the suit,
07:45 whether it be John Williams or whether it be Hans Zimmer,
07:47 they're both extraordinary, extraordinary artists.
07:51 - There's also a unique energy to these films.
07:53 Is it something that comes together in the edit?
07:55 - No, no, no, it is alive.
07:57 I mean, on the day, it's very much, it's a very alive set.
08:00 There's lots of talking, there's lots of English people,
08:03 there's lots of banter.
08:04 All together, I mean, it contributes to the levity
08:09 and the life of the film.
08:11 - Terrific rug pull.
08:12 I really enjoyed it.
08:14 Did you see it coming?
08:15 - No, no, not even a little bit.
08:17 Not even a little bit. - Wow.
08:19 - Yeah. - That's very satisfying
08:20 'cause you must be quite hard to dupe
08:23 the amount of your awareness.
08:26 So I'm very excited, very pleased to hear that.
08:29 - You can't control Enola Holmes.
08:32 She's a force of nature.
08:34 (dramatic music)
08:36 (woman screams)
08:39 (woman grunts)
08:42 (woman screams)
08:44 - You.
08:45 (upbeat music)
08:48 [BLANK_AUDIO]
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