#someone once pointed out that oliver says felicity’s name like it’s a sentence #and he really #truly does#sometimes it’s ‘could we please get back to the topic at hand’ #sometimes it’s ‘felicity you need to look at this come here now’ #sometimes it’s just ‘hey i need you to do this thing’ #and sometimes it’s ‘i know what you’re going to say; you don’t have to say it’ #and sometimes it’s ‘i love you’ #'you're worth it' #'you are the choice i'll never remember making' #give amell lots of the credit for this #cause it sure as heck isn’t scripted  (via andyouweremine)

So in “Redbeard,” as it’s formed on the soundtrack album, you actually hear in the distance the Watson chords on brass as Sherlock is ascending the staircase because it’s really John… it’s the connection with John that’s giving him the motivation to recover from that situation, so that’s one of the first times really that I can remember, I’m sure I’ll be wrong, where we’ve actively been using the Watson’s chords in a different orchestration.

Micheal Price, composer of BBC’s Sherlock in his interview with Mary Jo Watts (mid0nz)
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