‘Sherlock‘ producer Sue Vertue and co-creator Steven Moffat talked at Series Mania about their new political show “Number 10,” written by Moffat for Channel 4/ITVS. 

“[It’s about] British government, we don’t know which party is in power. You have no idea. But, as I discovered in my research, it really makes no difference,” says Moffat.

“It’s not a satire. Whatever the disastrous outcome, for most part, these people are trying to get a good outcome. It’s funny and quite serious at times. I did an awful lot of research, which was usual for me, and got so many great stories about what goes on in this house. Yeah, I know they are politicians, but every proper sensible country governs from mighty buildings and castles. We got a wee street!”

“If you want to look at British self-image and what we are like as a nation, go to Downing Street. This little street. That’s us. That’s how we are. Inside, the toilets don’t often work, the lift breaks down, and in the room where they held the most important meetings, there is a sword – if everyone moves it, they’ve broken a terrible law. You will find out why if you watch the show.” 

The politics has very little to do with the show, he states. Even though it was filmed on the actual Downing Street. 

“As one character says, quoting a real-life Prime Minister: ‘Most of this job is trying to choose between two unacceptable outcomes.’ That’s pure drama. That’s glorious. ‘Which one of these should I chose?’ ‘It’s up to you, Prime Minister.’ ‘But they are both terrible? ‘Yes, Prime Minister.’ ‘I will be blamed for it, won’t I?’ ‘You will, Prime Minister.’ ‘Is more data coming in? Can we wait for it?’ ‘Yes, Prime Minister. No, Prime Minister.’”  

“Think of it as a workplace comedy drama – in the most ridiculous workplace. The one where if you have an accidental hookup at a Christmas party, it’s going on the front page. If you have a serious hangover, you can start a war. It’s a place of high drama, sometimes high principle, but staffed by just people,” he notes. 

“A lot of the stories are true. I’ve disguised the names to protect the guilty, but tons of it actually happens. It’s not about politics, because while making this show, any notion of having a political orientation went out of the window. I learnt too much. You are in a state of continuous crisis. What a perfect place to put a bunch of interesting characters in for a comedy drama.”

Vertue adds: “We are so proud of this show. We finished filming on Friday. It’s beautiful.”

A longtime couple in work and in life also talked about their partnership that spawned “Dracula” or “Sherlock” during the masterclass.

They spotted Cumberbatch in “Atonement,” where “he played a really creepy character. But he looked and sounded the part,” says Moffat.  

“He had his demeanor. The BBC said: ‘He’s brilliant, just one thing: You did promise us a sexy Sherlock Holmes and he’s not, is he?’

Before Martin Freeman was cast, Matt Smith – Eleventh Doctor in “Doctor Who” – was one of the first people to audition for the role.

“Martin was a bit grumpy and we didn’t think he wanted the part. Then his agent called me: ‘No, he did, but he just had his wallet stolen’,” recalled Vertue, with Moffat adding: “They are both brilliant but I don’t know if they are ever more brilliant than when they are together.”  

When they first met, Vertue was a “bigger name,” says Moffat. 

“I don’t know, I guess making things like ‘Mr. Bean’ makes you famous. When we met, she was way out of my league. People ask: ‘Is it a problem, working with your wife?’ Well, raising children together is hard, too. If working together is ‘hard,’ what the hell are you doing getting married?!”

He adds: “Also, we are saving production money – we only need one hotel room.”

How did they fall in love?

“In a bar,” deadpans Vertue.

Or, rather, at the Edinburg TV festival. 

“You know when you know immediately when it’s right? We did. I promised another producer not to work with him for a year, kept my promise and then I nabbed him,” she says.  

They also worked together on “Coupling,” which was close to their own story, they admit. 

“Whatever you write, even nonsense like ‘Doctor Who’ and ‘Sherlock,’ you write what’s in front of you. I went from being a single man to being a married man. I lived in a different place; I was ‘a couple’. The rules had to be rewritten: ‘Stop flirting with women’ – that was one,” says Moffat.

“How autobiographical [was it]? Not very. Every journalist would ask: ‘Are any characters based on you and Sue?’ ‘Yes, those with our names. You are never gonna crack Watergate, are you?’ But yes, there’s some truth in it.”

“[After we met] we said: ‘Shall we be exclusive?’ I said: ‘I just have to go and dump someone.’ Sue was dumping people for about a month, and it was so easy for her! Once someone called, she picked up and said: ‘Oh hi! Sorry, I met someone. Bye’.”

According to Moffat, “if it’s boring, stick some jokes in it.” 

“Real life is funny – drama is a lie. If you are saying goodbye to the love of your life, you can’t wait for her to leave because you have to pee. These Sherlock stories? If you read the original, it’s funny. Holmes is a funny guy, making impossible deductions and Watson still managing to be astonished by it. It’s glorious stuff. [‘Sherlock’ episode] ‘A Scandal in Belgravia’ is one of my favorite things and it’s non-stop gags. You can’t be too funny, too sexy or too pretty. Always go for funny.” 

He adds: “Humor is truth on speed, that’s what it is. It’s insight with velocity. We had a tradition: When Sue reads a script, I move very far from her in case I want to ask: ‘Why haven’t you laughed yet?’ People must laugh when they read the script. You must laugh before you write a line. I used to say about comedy writing: Stare at the window until you make yourself laugh, and when you do, write it down.”   

Vertue says: “He does all the voices and all the parts, and he’s laughing while walking down the street. Our son would say to his friends when they were coming over: ‘Don’t worry about my dad. He’s not mad, he’s just writing’.”