'Enola Holmes 2' Interviews with Henry Cavill, Millie Bobby Brown
"Enola Holmes 2" stars Henry Cavill (Sherlock Holmes), Millie Bobby Brown (Enola Holmes) and writer/director Harry Bradbeer discuss their new Netflix film in this interview with CinemaBlend's Sean O'Connell. They discuss how Enola has evolved for the sequel, the insane details embedded in the set and script, and yes, we get a Superman question in there for Henry.
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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]