Hello, this is Simon Brew. I'm the editor of Film Stories magazine. I'm just waiting on an Amazon delivery. I'll start in a set. Oh, hang on. Someone at the door. Let's see. Hello?

Please put down your weapon. Uh, 20 seconds to comply. I only ordered USB charges.

I, um, might just...

Oh, I might just start the podcast while I get onto customer service.

You now have five seconds to fly.

Oh, cricky.

I'm gonna roll the titles before it shoots me.

Oh my luck, come with me.

And I show you how deep the rabbit hole goes. They're movies. before it shoots me. Oh my luck, come with me.

And I show you how deep the rabbit hole goes.

They're movies. Moobies. Moobies that had stories.

That the story just sucks them in. This is just the beginning.

We would be honored if you would join us.

Hello and a very warm welcome to the 250th episode of Film Stories with Simon Brew. I am Simon Brew as always. That's absolutely everything you need to know about me. The end of the podcast though,

well the title gives it away. I'm here to talk of the stories of film and I tend to

talk about development stories, production stories, marketing, stories, release stories, all those bits and

bobs really that go to make the films that we know and sometimes love, just that the films that we know

and sometimes love. The films I tend to cover on this podcast have more of a mainstream leaning to

them than anything else. They're films I'm interested in or invested in to some degree. I try not to do snark. I try not to punch down. I'm here

to celebrate cinema and the fact that films somehow managed to get made. The two films I've

chosen for this episode of the podcast, one I like a lot more than the other. So I'm going to start

with that one. I'm going to go all the way back to 1987 to a bona fide a sci-fi classic. Let me play you a clip. I'll come to the story, the other side of this. Clarence Bodiger.

...