Nicholas Rowe; Alan Cox; Sophie Ward; Anthony Higgins; Susan Fleetwood; Freddie Jones; Nigel Stock; Roger Ashton-Griffiths; Earl Rhodes.
I was attracted to Young Sherlock, because I love the Victorian period, and I thought I'd love to play there and create that kind of world. I also wanted to learn about special effects. You have to understand all the new tools that keep coming to filmmaking. So, I thought that would be an interesting learning experience, in an area that I've been fascinated by.
We had this scene in a church, where the image of the man in the stained glass jumps out and becomes a real person. The church vicar begins backing away, believing he's having hallucinations. I had asked the people at Industrial Light and Magic if, when we see the image coming toward us, the camera could keep moving until we're over his shoulder, looking back at the vicar. We shot the scene, and they actually were able to do that later. That was the beginning of being able to make these kinds of moves that we now see all the time. It's a terrific shot, but it was the first time something like this was done.
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