Action is Elementary for ‘Sherlock Holmes’ Director Guy Ritchie
Published: Monday, December 12, 2011
Updated: Tuesday, December 13, 2011 17:12
The signature action scene in the soon-to-be-released "Sherlock Holmes: A Game of Shadows," unfolds in a fusillade in a forest, as high-speed cameras zooming at 70 mph capture ammunition ripping through trees and flesh in real time. It's the type of mayhem, initially so intense that the film faced an R rating, that you would find only in a movie directed by Guy Ritchie.
Until two years ago, Ritchie was known only to a select cinema buff crowd for his stylish, low-budget British gangster movies – "Snatch," "Lock, Stock and Two Smoking Barrels," "Revolver" and "RockNRolla." He burst into the mainstream, and into Hollywood's loftiest ranks, by directing Robert Downey Jr. and Jude Law in the 2009 megahit "Sherlock Holmes," which grossed more than $524 million worldwide.
Though the first "Sherlock" was a blockbuster, in many ways it was Ritchie's most constrained production, short on some of his distinctive flourishes. The key set piece in the film, for instance, transpired on London Bridge, a sequence heavy on computer effects but light on novelty – the sort of staging you might come across in any number of studio action movies.
But as the new detective movie should prove, Ritchie has in many ways reverted to his earliest form, injecting the follow-up with more of his signature cinematic touches.
Audiences appear even more intrigued with the sequel than with the original, as pre-release surveys suggest "A Game of Shadows" could be December's all-conquering hit, with stronger early interest than for "Mission: Impossible – Ghost Protocol." And because Ritchie's film won't be competing against a juggernaut such as "Avatar," as was the case with "Sherlock Holmes," "A Game of Shadows" could play far into the new year. The PG-13 film, which reunites Downey as Holmes and Law as Dr. Watson, arrives in theaters this Friday.
"I much prefer it to the first movie," Ritchie said a day after jetting through Southern California's windstorms in a terrifying flight that left the 43-year-old director (traveling with model Jacqui Ainsley and their newborn son) so discomfited that he was gasping for breath. "I just enjoyed the experience more."
When Warner Bros. hired Ritchie to pump life into Arthur Conan Doyle's 19th century literary creation, he was an unusual choice. His 2008 film "RockNRolla" was only a minor respite from his critical and commercial disappointments "Revolver" (2005) and "Swept Away" (2002), the latter starring his then-wife, Madonna. And "Sherlock Holmes" would cost about 10 times that of his most expensive production, the $18-million "RockNRolla." Producer Lionel Wigram, who worked with director David Yates, another unconventional choice, on the studio's "Harry Potter" franchise, nevertheless thought it was a marriage made in moviemaking heaven.
"He'd obviously had a period where a couple of his movies had not been well received," Wigram said. "But the way to make Sherlock Holmes feel fresh and innovative was the Guy Ritchie version." Specifically, Wigram said, it was through Ritchie's filmmaking manner: an innovative mix of staging (especially the fighting), humor, voice-overs, lenses, frame rates, camera moves and editing (by longtime collaborator James Herbert). "That's what defines his movies – it's all through the filter of Guy's sensibility."
Ritchie said making the first film was as personally satisfying as it was professionally, largely thanks to the collaboration with Downey and his producing partner, wife Susan Downey. "They were great mates," Ritchie said. "I was going through a divorce and there was a lot going on (in making the movie) that made me feel comfortable."
If the director, who also has made award-winning commercials for BMW and Nike, was comfortable on the set of the first film, he was luxuriating on the second, his ease revealed in how he shot the forest scene. (It was shot in Bourne Wood, outside Surrey, England; most of the film was staged in the United Kingdom).
"I made up my mind to make something out of nothing," Ritchie said. "In the script (credited to Michele and Kieran Mulroney, but revised and improvised by Ritchie, the producers, Downey and Law), it just said, ‘They are running through the woods.' But often the most creative stuff comes from nothing."
Shooting in the woods was originally scheduled for just two days of filming, but Ritchie asked for an additional three days of photography there. "And then I armed myself with as many toys as I could," he said. "I need gizmos – I like the technical side of filmmaking."
In his arsenal was a track system designed for sports that can travel as fast as 70 mph, and a digital camera called "The Phantom" whose frame rate could be cranked up to 5,000 frames per second — the normal rate is 24 — so as to freeze high-speed objects such as bullets. (The faster the camera films, the slower the images play.)
"The bullets you see in the air are real bullets – that's the speed at which they fly," the director said.