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