"We are spiritual beings who can achieve all that we set out to do."
"I meditate and do yoga. I sit cross-legged and try not to levitate too much."
"I'm not a very physical person, really, I used to think it would do me a great deal of good to lift weights, but I gave it up when my neck started getting bigger than my head."
"I  was tongue-tied. I had a very weak 'r' sound and had to work hard on it. I didn't have the condition corrected until I was 17. And then I went to the Central School of Speech and Drama to relearn how to speak."
"I originally wanted to be a singer... I was just one of those kids who opened his mouth and everyone sort of fell over backward because the sound was so beautiful... It was just a gift from the Gods, really; it had nothing to do with me"
(à propos de sa voix de soprano enfant)
"I wanted to be a jockey or a dancer. But I got too big to be a jockey. As for dance, after I went to my first ballet, I suddenly realized that the man spends all his time lifting the woman in front of himself, and I thought that's a bit deadly."
"I was beaten regularly at Eton. But it didn't do me any harm... I really enjoyed my time there."

Ses Parents
"Valore et Virtute"
(devise de la famille Huggins)
"Looking back, I'm very proud of what my parents did. They sacrificed a great deal."
"I  would like to have been a soldier for a while for my father's sake, but I had rheumatic fever at sixteen and never saw any kind of military service. When I said I wanted to be an actor, it was the end. It was a great disappointment to my father."
"My father thought any respectable middle-class boy shouldn't do a thing like that. He thought it was all drinking champagne out of slippers."
"I  had an amazing mother who used to say to us, 'I don't want you to do anything until you absolutely can't help it, or you're sure you want to do it.' Then, when my father would come home and scream, 'For God's sake, get these boys going!', my mother would answer: 'Not until they know what they want.'"
"My mother had this extraordinary way of making us flower. She wasn't just 'my mother'; her name was Elizabeth, and she had open doors and windows in her soul--that's the only way I can put it. Everybody came to my mother. She was like a light of great warmth."

L' Amour
" I  am not looking and I don't go hunting. I'm the type who's got to be found."
"Love usually happens when you're not expecting it.  There is such a thing as love at first sight. It gives you a flying start, but then you have to see how breakfast goes !"
"Yes, children are important for me. I have three. David, who is my son by Annie, and two step-children by Joan. They are Caleb and Rebecka - or Beckie as she loved to be called. They all mean a tremendous amount to me, and I feel very spoiled and lucky to have them."
(Mai 1990)

Sa première femme Anna Massey
" were far to young to get hitched. It didn't work out and we divorced in 1962."

Sa  deuxième femme Joan Wilson
"She saw me on stage in Design for Living and said, 'That's the man for me'... She said she liked the way I changed weight from one leg to the other... She organized the meeting and we married in 1976. We had a decade together... I loved her dearly, she was so beautiful and gutsy."
"We had a once-in-a-lifetime love. She was an incredible person, the best wife a man could have. This was the kind of relationship where I would start a sentence and she would finish it. Sometimes you can see behind somebody's eyes and feel as if you have known them all your life. That's how it was."
"She was very bossy. I used to say to her 'Darling I'm glad we don't live together all the time. But when we were togheter it was a bonfire of fun. She was my confidence. she understood the hell actors go through."
"I  knew at the end of 'The Final Problem' in 1984 that she had cancer, and the lights really went out in my life."
"I was in America when she learned her days were numbered. She flew over from Britain looking absolutely beautiful in
scarlet and silver. That night we danced until the early hours. A few days later she was dead."
"She was my perfect woman. I wish she'd come back.."
"You never get over a loss like that.  You just get used to it but you never get over it."
"I  have got used to people saying I will get over it... But I am not very good at losing people I love. I lost my mother, she was killed in a car accident, and it threw me for a loop."
(Mai 1990)
"When someone dies, people presume you are eligible again, but I'm not, really. And who's to choose who? With me,
it's always been the lady."
(TV Times, 16-22 Février 1991)

Sa dépression après la mort de Joan
"I went mad. I was locked up-put away. Raving, I'm afraid."
"You know, the people who take care of you in those places [hospital] darling. They really can be quite naughty.
But of course they have a terrible job, its the worst job in the world."
"When I saw my son looking at me with tears in his eyes, I decided I would not let that happen again."
"The character of Holmes had brought me to my knees. As part of my therapy-to get back on the bicycle-I decided to get the man out of me."
"Don't be too brave. Bravery is a fine thing on some occasions, but sometimes it can be quite a dangerous thing. The stiff upper lip is not always the best. "

L' Amérique
"I was overwhelmed with America then. The enormous vitality--the hustle and bustle were just too much for me. I'm older now, and find America very exciting. And the American women! They're so wonderfully groomed - they're beautiful, really.
I find them terribly attractive!"
"I feel blessed to be working whatever the part. America has taught that to me. One's career is only there by the grace of God and this carpet!... I love to work. Being allowed constantly to play charades and be paid for doing what one adores is unbelievable. It's also an escape. It's easy to become a workaholic because when you're working there's a clear focus. Life is much more complicated, but then it's such an honour to be working when only four percent of actors in Britain are employed."
("The More Than Elementary Mr. Jeremy Brett." Woman and Home interview, June 1984)
"I adore Hollywood. I really wanted to be a cowboy. I know, don't laught. I mean, that's the way life is... I really wanted to be a Hollywood cowboy. I thought, 'well, I can't be Alan Ladd in Shane. I'll be Jack Palance or whatever', but it didn't work out."
(TV interview, Terry Wogan, 1991)
"People living in Hollywood have to stay home if they're in a foul mood; anything outside the home is potential publicity. "
"I think the greatest star in American at the moment is Kevin Costner."
"I was very upset because my dear gardener had been killed in a car accident. There was no point in having a home there any more just for me." (la raison de la vente de sa maison à Los Angeles)"It was a warm day and I thought I'd do a bit of sun bathing, but my two puritanical elderly neighbours were horrified and ran inside. To make amends I invited them round for a proper English tea-fully clothed of course."
(anectode pendant le séjour de Jeremy au Canada)

L' Argent
"I mean, money people are usually quite brisk, but mine aren't, and they keep on giving me spaces so that I've been able to go on and do plays and films.""Money to me is a very complicated game and I'm not very good at it. I try very hard, but I regard it merely as a necessary means to an end. I've no idea how to look after it."  
("The Real Jeremy Brett - Alive and Well in Exquisite Poverty" - TV Times, Février/Mars 1973)

Son Métier
"My friends say to me 'Are you still play-acting? Will you ever do a proper job ?' "
"I think I prefer acting on stage; I like to see if the audience is enjoying itself."
"Doing work you enjoy helps, too. I mean it helps if you can find a job that interests you enough so that each week when you're paid it seems like a minor miracle and I've always been fortunate enough to do that."
( 'I Want to Be a Star,' Says Jeremy Brett." My Weekly interview by Yvonne Wyatt-Rees, 7 Avril 1979)
"One wonders when you're a 'becomer.' What a 'becomer' means is I'm a sponge, right, I'm an actor. You squeeze the liquid out of your own essence, and draw in the liquid of the part that you're playing."
"I call the large film camera 'the one-eyed moose.' peers his eye through his circled fingers, mimicking a camera lens"
"I guess the only way I get things done is to do a 'lot' of them! When I'm going at break-neck speed,
I seem to get much more accomplished."
"I always read any reviews about my own work. I think it's important to know the worst !"
"Villains are very, very boring to do. They're so much easier than heroes."
"I would love to do some comedy. To make people laugh is the greatest gift of all."
"It's very rare I've been able to get into the 20th century. When I turn from 1899 to 1900 I jump for joy. I did in Rebecca, I got into the '30's then. I have done some modern stuff but I'm so thrilled I over-act like crazy. I've got pockets! I'm so used to wearing tights all the time that when I put my hands in my pockets I nearly fall over. I'm so unused to playing a modern guy. It all started because I was a classical actor, I was trained that way. When I left drama school, I wanted to do Shakespeare, I loved the words, I really fell in love with them, I loved the sound of them. So, most of my training was classical. "
"Maggie Smith used to have excellent skin. Have you seen her face lately? In a few more years, they'll have to unfold it to find out who she used to be."
"I  remember when Sir Alistair Cook said to me, many years ago, about 1981, before we started, he said that the three most memorable people in the last hundred years are Churchill, Hitler and Sherlock Holmes. Now this was meant to encourage me.I was terrified ! 'Well, that’s really done it now.' I mean, I didn’t want to play the part in the first place because I thought I would fail! ‘Cause there had been so many people playing it before. But to think that one of those three people never existed at all is extraordinary !"
"I'd worshiped him from afar from my childhood, from the moment I saw Henry V. He was really the reason I came in to the profession, I think."
(à propos de Sir Laurence Olivier)
"The most important thing when you're working with greatness is to learn from it, not challenge it."
("Olivier at Work" - 1989)
"And I said, 'I want to be an actor vewy, vewy much.' Guthrie was kind of overwhelmed at this idiot. I remember I was wearing my brother's coat to make me look bigger. And he said I could have a walk-on part in 'Tamburlaine'. 'Or,' he said, 'you should go with that 'r' sound to Central School,' which I did. About 10 years later I worked with him on Broadway when I played Troilus for him. Trrroilus! 'As true as Troilus,' I had to say."
(sa rencontre avec le metteur en scène de théâtre Tyrone Guthrie)
"I  learned from Alec Guinness how disciplined you have to be to sustain a role... He's also very human. He does not like the audience. If someone coughs, he sends his man with cough drops to Row J, Seat 5. Once, on a rare hot day, someone in the front row was using the program as a fan. Guinness knocked it out of his hand with a cane.
He totally destroyed the illusion of blindness !"
(son travail avec Alec Guinness dans "A Voyage 'Round My Father" - 1971)
"No, not now. It's all changed... I did that in Canada. I went to Canada and I did a production of 'The Tempest,' in 1982. I produced it, directed it, and played Prospero. I hobbled away afterwards. I was exhausted. I also did it with Robin Phillips, the great Robin Phillips, who is still in Canada. We did a year of--company theatre, it was called--in Greenwich. Again, I tottered away. And I think my services would be most appreciated by possibly the new young Olivier, Kenneth Branagh, and I may, at a given moment, go and offer my services and say 'Can I sweep the stage?' or "Is there anything I can do for you?" I think I should join a company, not create one, and make my contribution that way as a--whatever--a talking head, whatever. 'Pick my brains. Do you want to know anything about 'Lawrence Olivier' , my mentor? Is there anything that he said that might help you?' One thing, of course, Olivier said, 'Every actor should have a full orchestra at his beck and call, vocally, and the body of a god.' And he had both and he was 57 at the time. So people could sort of bounce off me."  
(son projet de créer son propre théâtre - 6 Novembre 1991)
"I always tell the director that he should think of me as brand new. I want all the fresh input I can get."
(Mai 1992)
"With directors, I am like Bambi ! I just lay down and say, 'Tell me what to do'."

Sherlock Holmes
("Qui-Vous-Savez" surnom de Sherlock Holmes)
"For a man who never existed it's extraordinary to celebrate a birthday."
(pendant la pièce "The Secret" écrite pour le centenaire de Holmes)
"He's an upholder of the law. He's also a law unto himself. In other words, he releases people and Scotland Yard says 'How could you do that?' He also loves children because I've wondered where his love is channeled. Because no one can be that unemotional. So whenever I can, I have the Irregulars around. I think Holmes loves children."
"I've always thought I was miscast. He's the exact opposite to my own personality. I'm outgoing. I'm gregarious. I love dancing. I love to wear bright colours. I love people. Holmes does not love people. Of course, he's brilliant and I'm not."
"I can not play this man. He is like quicksilver, just a head of my consciousness. I can't reach him. I think I'm nearly there, and it slips away. And it dazzles me. And of course, he's such a giant, such a genius, such a bore, such an isolated damaged penguin. I hate him. So, it's a real treasure hunt you see."
"As a person I'm hooked, but as an actor I'm confused by playing a man who lives by his brain. I keep asking the lighting man on the Sherlock Holmes set to light my forehead to see if there's anything inside !"
"Holmes is so still and I'm like Jiminy Cricket."
"Holmes is such a cool cat. I much prefer to play romantic extroverts with long, flowing hair and passion in their souls."
"The provocation with Holmes is the fact that he's described by Doyle as a man without a heart - all brain... and that's very difficult to play, or even indicate.”
"Well... unbelievably, we've never seen Doyle before. Now, don't ask me why that is, I don't understand. All these years, no one has done his stories. They've done derivatives. They've taken the names of Holmes and Watson, but they've never done his stories. I cannot think why. At least that gave me something to do."
"And what is so extraordinary to me is that no one's done Doyle before, and I find that bewildering !"
(Novembre 1991)
"I was talking about becoming. What I mean by that is an inner life. Watson describes You-Know-Who as a mind without a heart. That's hard to play, hard to become. So what I did was to invent an inner life. I mean, I know what his nanny looked like, for example; she was covered in starch. She probably scrubbed him, but never kissed him. I don't think he probably saw his mother until he was about eight. Maybe caught a touch of the fragrance of her scent and the rustle of her dress. I guess collage days were fairly complicated because he was quite isolated. He probably saw a girl across the quadrangle and fell in love, but she never looked at him....so he closed that door. And he became a brilliant fencer, of course, as we know, and a master at boxing...brilliant athlete...and many more little tiny little details which I have to kind of make up to fill this kind of well... that Doyle so brilliantly left out".
(l'enfance de Holmes imaginée par Jeremy - interview Novembre 1991)
"There may have been this beautiful girl, that he fell flat for, but she didn't look at him. So that broke his heart and he thought, 'Well, I'm not going to be rejected again' so that's why he's the way he is."
"And of course Holmes is such a giant, such a genius, such an... isolated damaged penguin."
(vétu de noir et blanc, Holmes lui évoquait un pingouin blessé)
" After being made up for Sherlock Holmes you have to spend the rest of the day walking around looking like a damaged penguin or an undertaker. Even my colleagues give me a wide berth. You look so gloomy."
(Boston Globe Magazine - 8 Decembre 1991)
"The other thing is, of course, if you go into the canteen for lunch dressed like what I call the 'damaged penguin' no one will really sit with you, because you look like death warmed-up. When you've got the mask on, and the black hair and the black suit, you really are frightfully cheerful to have lunch opposite."
"So, all these things you can get from Doyle, and when other actors who play Holmes and just pop on the deerstalker, and his cape and the pipe and walk straight through it, puff...puff...puff... - and get on with the next thing - that's probably the safer way to train - but it's not exactly being true to Doyle. It's just an image, like a cliché, which is not real."
(à propos du stéréotype holmésien)
"I discovered all sorts of things that I could do if I had had the opportunity to do it. So I said 'yes!', with enormous temerity, and a certain amount of fear, and an element of excitement."
(sa décision de jouer Holmes après avoir relu le Canon - interview Novembre 1991)
"We approached the scripts. I said, 'But you've asked me to do Sir Arthur Conan Doyle's Sherlock Holmes. These aren't Sherlock Holmes Doyle's stories.' I mean, the adapters had gone so far away. And the script editor said, 'Jeremy, you're here to act. Just get on with it'. And I tipped the table over and my Dover sole landed in his lap.  And that was the beginning of the tousle. I used to take the whole canon with me to... the beginning of each film, and fight for Doyle. After about a year and a half I said, 'Listen, if you don't start taking care of me I may lose interest', because it was such a tussle. But than Granada Studios stepped in and were so remarkable and wonderful and gave me two weeks rehearsal instead of the one. So the first week I could fight for Doyle and the second week I could work with my fellow actors. And that's basically how it's been ever since".
"The trouble with adapters is, of course, that it's not a natural job. Adapting things means that you really haven't got a creative idea of your own. You're making some money on the side. They consequently, all the time, try and do their own thing. I sit there and read the script and I say, 'But don't you think Doyle is better?' That's been the problem all the way through-trying to do Doyle."
"Holmes could be rude, impatient, abrupt, and his intolerance of fools was legendary. I tried to show all this, all of the man's incredible brilliance. But there are some cracks in Holmes' marble, as in an almost-perfect Rodin statue. And I tried to show that, too."
"I made terrible mistakes. I'm so miscast; I'm a romantic-heroic actor. So I was terribly aware that I had to hide an awful lot of me, and in so doing I think I look quite often brusque, or maybe sometimes even slightly rude. In fact Dame Jean Conan Doyle, Doyle's daughter, who's a great personal friend of mine, did once say to me, 'I don't think my father meant You-Know-Who to be quite so rude', and I said, 'I'm terribly sorry, Dame Jean, I'm just trying to hide me'."
"I don't really mind actually. I must be very grateful to Arthur Conan Doyle because we are in the deepest recession in England, and only five percent of my profession are at work. I'm one of them at work, so I'm not knocking it."
(sur le fait d'avoir été choisi pour jouer Holmes)
"Well, the stories leap from the printed page. I mean, when it says, 'Holmes crawls through the bracken looking for a clue like a golden retriever,' you can see it with your mind's eye. When you do it, it's hysterically funny. I've even had people in the studio, when I had suddenly crawled across the floor, say, 'Not another of those.' And that's the lighter side."
"Well, I don't mind, now, I mean... Uh, there was a time when people would say, 'How do you enjoy playing Holmes?' and
I would say, 'I wouldn't cross the street to meet him'. I then discovered that, of course, I meant that he wouldn't cross the street to meet me. Then when I was doing the play, which taught me a very great deal because I was in touch with people, 'cause filming is quite isolated, and I realized how many children were seeing him and how - what a hero he was, to them.
I thought, 'Oh, my, didn't know that', so I thought, 'My goodness, I have that joy', umm, of doing it for children."
"Children love him...I'm not quite sure why. Pulls out a crumpled note from a child with drawings on it: Holmes is riding on a dragon... I think he's killing the dragon..."
"Tina Turner may not agree, but the world does need heroes and yet again, at the end of another century, Holmes captures the heroic bent... I think he's a very modern person. He's interested in the poor, the street, law and justice. He got there before Clint Eastwood."
("Sherlock Holmes est-il un héros ?" - 1989)
"I no longer feel threatened by Holmes, in fact I really enjoy playing him. Holmes is an upholder of the law, and he has a magnetism and mental genius that have been compulsive for people throughout the last hundred years. I was astounded when I realized how attractive he is to women. You'd never suspect it for one moment from the books. Girls long to seduce him. I do know that the team at Granada Studios are the finest."
"To everyone who has worked on these films of 'Sir Arthur Conan Doyle's stories in the past decade, only one word can express how I feel: Bravo! Holmes has finally given me recognition as a real actor, not just an aging pretty face."
("At Last I'm Free From the Shadow of Holmes!" Woman's Own interview - 11 Mars 1991)
"I can't anymore. The body is crumbling. I won't do Sherlock Holmes again... Let's do something else. Let me have a go at Winnie The Pooh."
(sur le fait de ne plus jouer Holmes)
"Now I think it is time to take lots of rest and think about what I actually want to do myself, not about what other people want me to do. But it will be a great comfort to me as I get older to be able to look back and say: 'Oh, well, I did Holmes and I managed to do it not completely badly.'"
(ses projets après Sherlock Holmes - Mai 1990)
"The Reigate Squires and The Engineer's Thumb, but we have done the best."
(épisodes que Jeremy aurait souhaité tourner)
"I've done 33 Sherlock Holmes stories and bits of them are all right. But the definitive Sherlock Holmes is really in everyone's head. No actor can fit into that category because every reader has his own ideal."
(sur le fait d'être considéré comme le "Sherlock Holmes définitif" - TV Times interview - 16-22, Février 1991)
"I see the definitive Holmes as a cross between Ben Kingsley and Al Pacino with a touch of Daniel Day Lewis thrown in."
(Holmes selon Jeremy - Interview Wyndham's Theatre - 1989)
"There is a tremendous delicacy in preserving Holmes in other people's imaginations because there are a million different ways of seeing him. You try not to interfere with anybody's image."
(Septembre/Octobre 1991)
"I suppose my favorite Watson is James Mason. I guess my favorite Holmes will be Rathbone forever. He seems to be the Pagets drawings on the move-not having seen William Gillette, of course."
(ses Watson et Holmes favoris)
"I liked Robert Stephens very much in the Billy Wilder film, The Private Life of Sherlock Holmes, and I liked Colin Blakely very much too as Watson, though I don't rate the film too highly. There are so many ingredients to bring together in portraying Holmes and Watson that it's very difficult to pick out the best, however, I would like to mention that Nigel Stock was a very, very fine Watson. I liked bits of John Neville's Holmes, and I liked bits of Christopher Plummer's Holmes. Again, there are so many facets to Holmes that it's very difficult to see all of him in just one film."
"Holmes and his brother Mycroft are so alone because they've inflicted their isolation on themselves. They're two little icebergs with brains."
(à propos des deux frères Holmes)
"I learned about the interrelationship of the two men. If you look at it from Watson's side, Holmes emerges as about the loneliest man in literature. So he needs Watson much more then Watson needs him. But being British he can't show it."
(l'importance de l'amitié entre Holmes et Watson)

"To me, the Sherlock Holmes stories are about a great friendship. Without Watson, Holmes might well have burnt out on cocaine long ago. I hope the series shows how important friendship is."
"They are a great essay in male friendship, which has gone now. Men's friendship has been debased. One of the lovely things about Holmes and Watson is that they do have this great platonic relationship."
(Mai 1990)
"Watson is much more my kind of person... Watson is a warm, loving, sunny person who's very enthusiastic -- and hurt and slightly upset when his friend is rude to people or him. This is much more like me. Playing Watson was tremendous fun, and it taught me a lot about how to approach Holmes when the Granada series got under way. I learned a great deal about the inter-relation between the two men..."
(à propos de Watson qu'il joua dans "The Crucifer of Blood" en 1980-81)
"In some ways Watson is stronger than Holmes. That comes through his kindness, I suppose. He sees Holmes' weaknesses and tries to protect him from them. Look how Watson rants at him about cocaine. Watson is always on the lookout in order to save his friend from pain, indignity or destruction."

David Burke
"The hardest thing about that was David went back to be with his son, Tom, and I always rode the train to Manchester. The last time we finished filming togheter, I went down to the same train and waved goodbye to him. That was absolutely devastating. I don't know how I got back to the hotel. I thought 'What are we going to do now?' I was so proud of him for going back to his son.  There would be more happy marriages if fathers went back to their children. His son was only two at the time. So yes, it was similar. We talked about Doyle all the time."

Edward Hardwicke
"Well, Edward's a very, very remarkable man...one of the nicest people I've ever met in my life. And he wanted to fit in.
So he watched the previous thirteen films and decided to try and look a little like David Burke, as much as he could, bless him. So he put on a rug, I mean a toupee, and, umm - and put lifts in his heels. And the first film we shot together was "The Abbey Grange". And we were running across a field, and he, he...these heels were too high so he was slipping and sliding. And I said, 'Oh, Edward, take them out! I'll bend my knees for the rest of the film!'"
"Edward is even more remarkable. I'll give you an example. You can publish it or not, it makes no difference to me. When I came out of the asylum, the person who collected me was Edward Hardwicke. He took me to an Italian restaurant. I had a pasta and a glass of red wine. He then drove me back to my home where we sat and had a cup of tea. It was Edward Hardwicke. He is one of the loveliest people, and I suppose he is the best friend that any man has ever had....in life.
Which is after all how Doyle describes Watson."
"So, he's the best to me, the best friend a man's ever had. I mean personally."

David Burke et Edward Hardwicke
"Well, they've very beautifully devoted each other. Quite remarkably, some people in Japan and now Russia have written saying how brilliant it was, the aging of Watson between The Final Problem and The Empty House. So fortunately, thanks to the enormous tact of both of them, and David Burkes's wife, who suggested Edward to take over. I've been very, very fortunate. You must remember the whole project was created by Michael Cox at Granada, to put posterity straight in regard to Watson. Thanks to those two marvellous actors, David Burke and Edward Hardvicke it's been done."
"Can't put a pin between them. If I felt any different, I wouldn't say. Tact, my love. Tact."

Rosalie Williams et Colin Jeavons
"That is a relationship [avec Rosalie Williams] which of course, I invented, because I really find it so difficult to have no woman to play opposite. That's a very important little relationship which has come through on the films. I love Rosalie and I'd worked with her before. Rosalie and I love each other so much."
"Well, my Lestrade, my darling Colin who's with me in this, and my darling Rosalie who's with me in The Master Blackmailer. I mean, we've become a family over the years. Every time Rosalie or Colin are in it I rejoice."

Ses fans féminines " The Women in Black"
"They get obsessive, ringing me up, grabbing me. It can be quite disturbing..."
(pendant la pièce "The Secret of Sherlock Holmes")
"Women throughout the world identify with what's going on and see me as Holmes. It's all very flattering and frightening at times. I just have to realize I'm in the fantasy business, but I do feel responsible and I get very concerned about the power this character wields."

Sherlockians (Holmésiens)
I am confused tough. You must forgive me for being confused. I honestly don't understand what it is that makes Sherlockians. I don't understand, because if it's true that they believe Watson wrote the stories and that Doyle was the literary agent, they are missing so much!".

La statue de Sherlock Holmes
"Our great crisis in England at the moment is in fact that they have just erected a statue, in Edinburgh, of You-Know-Who. Dame Jean, of course, and myself, are desperately upset. It is the first statue of it's kind in Britain. And of course, it shouldn't be you-know-who, it should be Doyle. Edinburgh is where he went to University and met Dr. Joseph Bell. Doyle is still being overshadowed by his invention. It's tragic. I was asked to model for it. They gave me a little clay figure of the statue to see. I said 'Why is he looking down ? ' The response was 'Oh, he is in mourning over the loss of Doyle.' I said 'But Edinburgh is depressing enough in the winter without all of this going on.' The statue is looking at a book, with the cliché pipe, Inverness cape, and deerstalker with this depressing pose. Dame Jean said 'You just don't understand Jeremy.' I said, 'He should be like this!' She said, 'No, it shouldn't be there at all. Holmes was never in Edinburgh'. So there is a little sadness that's going on."
(devise de Jeremy Brett)