The Oscar winner is in talks to portray the super snoop's loyal employee Mrs. Hudson in a new show based on her journals, called A View From The Landing At 221B Baker Street.
The script has been penned by British comedy writer Barry Cryer and his son, Bob, and the pair is adamant the Bond actress is the perfect person for the job.
Cryer tells Britain's Daily Mail, "It's all at a very early stage but it would be brilliant if Dame Judi were to play Mrs. Hudson. She would be ideal."
The show is the latest update of the Sherlock Holmes tale - Robert Downey, Jr. played the private investigator in Guy Ritchie's two films, and Benedict Cumberbatch plays Holmes in hit BBC series Sherlock.
The seasonal animated movie, which featured the voices of Bill Nighy and James McAvoy, was a huge hit at the U.K. box office in 2011, reaching number one and pulling in $147 million (£91.9 million) in ticket sales.
The film's characters made up part of the huge festive decorations which light up central London, and Smith admits seeing the display was the best part of her filmmaking process.
She tells Denofgeek.com, "It was great! The best thing was because we had the Regent Street lights, I felt like someone had decorated London to be my own personal Christmas tree! All these characters that you've loved and lived with, and there they are being the city's decorations! It's fantastic!
"Do you know, that was the best thing of the entire experience. It was such a lovely and delightful thing.
"I had in mind that when it came out, I would go and watch it in a few random cinemas. But I didn't, because you always have a slight worry watching a film with an audience, you worry whether they're going to laugh. So you don't really sense the idea that people are seeing the work that you've done. But, of course, walking down Oxford Street, there it is. All these characters that are terribly personal are suddenly out there in the world."
The King Arthur hunk's wife, Homeland star Claire Danes, gave birth to Cyrus Michael Christopher Dancy on Monday (17Dec12) and the Brit couldn't wait to tell his nearest and dearest all about their first child, according to the New York Post's PageSix column.
In the message, the proud dad revealed the boy arrived "exactly at 3pm", and added, "Mother and baby are well, healthy, and happy. Together we send our love to you all."
The couple wed in 2009.
The Avengers star is back on the New York stage tackling the role of Maggie in a new production of Tennessee Williams' classic play.
The role was made famous by Dame Elizabeth Taylor in the 1958 movie adaptation, which presented her as a seductress in a satin slip, but Johansson was eager to remove the sexual elements for her own stage version.
She even avoided seeing Taylor's onscreen portrayal of Maggie as she is convinced watching the movie would be a "terrible idea," adding, "Not saying anything about the film, it's just a different version of the story."
Johansson tells the Associated Press, "I think her sexuality is often overplayed and over-appreciated. It's such an unimportant part of this story. I mean, it comes with the circumstance, of course, and the settling and the words - that's already there. There's no need to drape yourself all over the stage and roll around in a satin sheet...
"It's really a beautiful play, really a perfect play, I think. If the play fails, it's our fault."
The show officially opens at the Richard Rodgers Theatre in Manhattan next month (Jan13).
Johansson previously won a coveted Tony Award in 2010 for her Broadway debut in a production of Arthur Miller's A View From the Bridge.
Scarlett Johansson will pick up a guaranteed $40,000 (£25,000)-per-week for her upcoming Broadway stint in Cat On A Hot Tin Roof, according to leaked business papers sent to investors.
That's $38,000 (£23,750) more than the base weekly pay for Broadway actors, according to Bloomberg News.
The Tennessee Williams revival begins previews on 18 December (12) and Johansson will play the role of Maggie in the production. The late Elizabeth Taylor took on the part in the film version of the tense drama.
According to the business papers, Johansson will also collect 7.5 per cent of ticket sales above $530,000 (£331,250).
Johansson won a Tony Award for her 2010 Broadway debut in a revival of Arthur Miller's A View from the Bridge.
Beloved late Golden Girls stars Rue Mcclanahan and Bea Arthur are to be immortalised in ice-cream thanks to a new venture in New York. Owners of the Big Gay Ice Cream Shop are opening a parlour in the West Village, and a Rue McClanahan ice-cream sandwich will be on the menu. Arthur already has a vanilla ice cream with dulce de leche and crushed vanilla wafers named after her and the store's outlets.
The Hollywood star bounced back from her summer (12) divorce from Tom Cruise with a starring role on the New York stage, and she toasted her latest career move at a star-studded afterparty at Gotham Hall, where fellow guests included actress Lily Rabe and Broadway regular Nathan Lane.
However, Holmes struggled to win over critics with her portrayal of Lorna in the play - many reviews slated playwright Theresa Rebeck's story, which also stars Norbert Leo Butz and Judy Greer, while Holmes herself received a mixed reception from the press.
The Hollywood Reporter praises the actress for bringing "a lovely naturalness" to the part, while the Associated Press' reviewer suggests the former Dawson's Creek star "relies too much on a whiny teenage angst and a guilelessness that worked on TV but lacks nuance onstage", and a writer for the New York Daily News laments, "Unfortunately, Holmes' efforts add up to zilch. The stillborn comedy she's in is so stupefyingly unfocused that it plays like a draft, not a finished work."
Holmes made her Broadway debut in 2008 when she starred in a revival of Arthur Miller drama All My Sons.
Ian Lithgow leads the cast of new family drama The Outgoing Tide at New York City's 59E59 Theater and the Harvard University graduate reveals his dad helped him prepare for the part.
He tells the New York Post, "Back aways my father did theatre all the time, and for me it was playtime. I soaked it all in and hung out backstage with the crew, playing cards and (word board game) Scrabble.
"My father and I ran lines together. I held the book for him."
But it's unlikely his proud father will get a chance to catch his son in action - he is currently onstage in London in a production of Sir Arthur Wing Pinero's The Magistrate, which runs until January (13).
Ian adds, "Unfortunately, he's in England so he hasn't seen the play."
Forget that the latest adaptation of Leo Tolstoy's sweeping romance novel comes from the man who brought us the slick-but-stuffy Pride and Prejudice and Atonement. Every frame of director Joe Wright's Anna Karenina is a wonder to behold overflowing with visual spectacle and roaring performances. Keira Knightley Jude Law Aaron Taylor-Johnson and the rest of the cast fit perfectly in the high drama epic but it's really Wright's playground. Following Hanna an artful spin on the action movie Wright returns to the period drama but injects it with dazzling daring choices. A book like Anna Karenina could once fit in reality but its larger-than-life legacy precedes it. Wright acknowledges that from frame one approaching the film like a grand ballet or opera where grand gestures broad emotions and overt theatrics are commonplace. That vision clicks transforming Anna Karenina into an exhilarating moviegoing experience.
The storyline of Anna Karenina isn't far off from a daytime soap: It's 1874 and Anna (Knightley) is floating through existence as the wife of influential government player Karenin (Law). But when her brother Oblonsky (Matthew Macfadyen) summons her to Moscow to save his marriage Anna's entire world is shaken up. She meets Vronsky (Taylor-Johnson) a cavalry hunk who finds himself smitten with the taken lady. She's in the same boat: The two strike up a flirtatious relationship that evolves into one of sexual passion. A scandalous affair would incite trouble in the preset day but in the 19th century it's the ultimate crime. Quickly Anna's life comes crumbling down.
The intertwining melodrama of Anna Karenina earned the novel its classic status but Wright uses the material as a launching pad for imagination rather than a tome to translate to screen. Many of the scenes are staged in a theater creating an instant awareness of the production. Sets shift and are reconstructed into new rooms; actors costume change in the span of single shots; action sequences like a thrilling horse race are conducted on stage with special effects you might see on Broadway. Wright works this sort of stylization in the other direction too; a character could walk an empty stage open a door and suddenly be on a snow-covered hill. Anna Karenina isn't the first film to use the effect but in Wright's hands it's exhilarating.
The movie is Wright's third collaboration with Knightley and easily their most successful. Knightley never struggles to stay on the same page as the heightened material whether she's nailing a dance sequence or breaking down in a flood of tears. Casting an ensemble around Knightley is no easy task but Taylor-Johnson gives his best work yet as the debonair love interest and Macfadyen steals the show with moments of physical comedy.
We have expectations of the texture and structure of period romances. Anna Karenina defies them. Masterpiece Theater it is not.
"I was only angry when they were really droopy. For King Arthur, for a poster, they gave me these really strange droopy t**s. If you're going to make me fantasy breasts, at least make perky breasts." British actress Keira Knightley was annoyed when movie bosses enhanced her assets for 2004 movie King Arthur.