From KCRW in Santa Monica, this is The Treatment.

Welcome to The Treatment.

I'm Elvis Mitchell.

You can also hear this show at KCRW.com.

It's been a while since my guest, writer-director, Guy Ritchie's been here.

The movies he's made, of course, snatched, locks stock and two smoking barrels, rock and rolla.

He brought a high-voltage filmmaking style to the streets of London. He's gone back a bit farther in time.

Do that same thing with Sherlock Holmes first or so a guy, welcome back. Good to have you back. Nice to see, Elvis. Tell me about what made you want to do Sherlock Holmes in the first place.

I was deeply invested in the narratives as a boy.

I knew them all very well, almost fluently.

I listened to them all on tape before I could read.

Who was doing the voice to remember at all?

I have no idea.

I'm never sure who does what to whom, and I can never attribute any credit already named to any, really any kind of creative experience I ever have.

For some reason, I'm not invested or interested particularly in who that person is. I don't know why. Maybe that's lazy. I'm not quite sure.

But there's the other part of me that likes being purely audience that doesn't want to know too much about the process. I just want to sort of roll over and let the experience just wash over me. And I don't want to lose that. You know what I mean? I don't want to overthink it.

What you do is you make experiences that sweep people into it almost right away.

I mean, there's a real adrenaline burst that almost seems to come, based on what we were saying, before we got started, on your work in Brazilian martial arts.

You want people to get their hearts racing that way that you do when you're working out.

Yes.

It's funny. A lot of the filmmakers I've been influenced by, I say I've been influenced by, a lot of the filmmakers that I think are brilliant, like Terrence Malick, moves at a pace,

which, you know, snail struggle to keep up with.

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