Fatal Attraction (1987), plus a very nerdy chat with Sam Raimi

Film Stories with Simon Brew

Simon Brew

Film History, Tv & Film

4.9 • 813 Ratings

🗓️ 2 February 2026

⏱️ 77 minutes

🔗️ Recording | iTunes | RSS

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Summary

Quite the double dose in this episode of Film Stories. Firstly, the story of how Fatal Attraction came from the roots of a short film at the start of the 1980s. How directors such as John Carpenter turned it down. And how the infamous battle over its ending led to one of the iconic movie thrillers of the 1980s. Then! It's only Sam Raimi! Chatting about Send Help, movie frame rates, For Love Of The Game and futuristic prison movies... Learn more about your ad choices. Visit megaphone.fm/adchoices

Transcript

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0:00.0	Hello, this is Simon Brew.
0:02.4	I'm the founder of Film Stories magazine and a very warm welcome to the Film Stories podcast.
0:08.0	You catch me at a key moment.
0:09.9	I've just got an auditor in to let me know what he thinks of the work that I'm doing.
0:15.1	I'll hand over to him.
0:16.1	I just don't think he got it.
0:17.3	As an executive, I see no value in you.
0:21.4	Great. Best get on with I see no value in you. Great.
0:22.3	Let's get on with the show.
0:23.5	Come with me.
0:25.7	And I show you how deep the rabbit hole goes.
0:29.0	And movies.
0:30.2	Movies that had stories.
0:31.8	That the story just sucks a man.
0:34.3	This is just the beginning.
0:36.9	There are stories. We would beoured if you would join us.
0:43.7	Hello and a very warm welcome to film stories with Simon Brew.
0:47.7	I am Simon Brew. As always, that is absolutely everything you need to know about me.
0:52.1	The aim of the podcast, that is given away by the title. I'm here to talk of the stories of films and I tend to know about me. The aim of the podcast, though, is given away by the title.
0:54.5	I'm here to talk of the stories of films and I tend to talk about production stories, marketing
0:58.9	stories, release stories, writing stories, directing stories, all the ingredients really that go
1:03.2	towards making the films that we know and sometimes love, just that the films that we know
	...

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