dying omg
(…) It was David Arnold (the composer on Sherlock along with Michael Price) who had asked me to be Benedict’s violin coach. I was of course thrilled and more than a little excited to meet him for the first time, at Air Lyndhurst studios. We were sitting outside in the sun and Benedict strode up, motorbike gear on, helmet in hand… but I managed not to show my excitement too much- I might have glowed my underarms a bit damp but it was a hot day, so that could be forgiven (…)
I lend him my spare violin to use for practice and as he attaches his own leather belt to it as a strap and slings it over his shoulders, I realise that violins look much more cool when worn by bikers. (…)
He’s very quick- he’s very focused. He’s not at all a muppet. And he’s a real perfectionist. Not content to just look convincing, he wants to sound convincing too - and despite not playing any instruments he’s very musical. (…)
I was becoming familiar with his laser focus, and his ‘locked onto target’ eyes, when it’s best to stand back and leave him to work it out for himself. Having been told once, he knows when and where he’s making mistakes, then he drills and drills until they are smoothed out - any tweaks from me while he’s in this process would be more of a distraction than a help.
He pays a lot of attention to the way to handle a violin, “how would you lift it to your chin?’, “How would you play around with the bow?”, “Which way would I put it down on a chair?” and he practices and practices each component until he looks and feels totally at ease with the violin. (…)
Often, between scenes, his only moments of rest, he asks for lessons. He really is a hard worker. One time I’m giving him a lesson on the side of set, in the dark, dodging crew hefting lights around- with him dressed IN A BED SHEET. This is fine I tell myself. TOTALLY FINE. (…)
Even though I am watching him, watching me, watching him and concentrating… and we’ve been doing the scene for a while and I’m standing on a high thing with wobbly walls, trying not to fall off.. even given all of that…when it comes to the close up of Sherlock’s face when he’s playing this sad theme - he looks so forlorn and so deep in his own sorrow that I get overwhelmed with sadness and fill up. That’s good acting that is.
I tell him afterwards that he made me cry. He beams…. Pfft. Actors.
The next day and Benedict has asked for a lesson in his trailer before going on set to film a scene where he plays Auld Lang Syne. We never managed to practice this one before as there was so much else to do. Hand positions, bowing straight, stance etc. And he only needs to be able to fake it too - it doesn’t have to be pitch perfect. But it does. Because he’s Benedict.
I am stunned as Ben picks out the tune himself - I give him a starting position and a finger (oh hush) and sit aghast as he picked out the notes He had pretty much nailed it in ten minutes having only had three proper lessons - none of which was on the tune. We’re so excited, we spontaneously high five (something which I doubt either of us would normally do) and I decide he is something of a genius.
From Eos Chater, violinist and Cumberbatch’s violin teacher for Sherlock… please read her beautiful posting about her experience, it’s such a great read!
I don't know if you still need this but: youtube /watch?v=eSFSHhMc85U
:D thank you! You saved me :3 asdfghjkl Matt and Benny and Moffy.
Benny didn’t win again…
Moffat, the hold you have over our emotions is tearing us apart…
And to all of the Sherlock fandom… Join me with a box of tissues, 10 cups of tea, and 3 tubs of icecream, we shall re-watch both series one and two of Sherlock.
