Hello, this is Simon Brew. I'm the editor of Film Stories magazine. Feeling a bit flat at the moment.

This is supposed to be the intro to the film stories podcast. Hang on, who's this?

Uh-oh. Sounds like somebody's got a case of the Mondays.

Come with me. And I show you how deep the rabbit hole goes.

And movies.

Movies that had stories.

That the story just sucks a man.

This is just the beginning.

We would be honored if you would join us.

Hello and a very warm welcome to film stories with Simon Brew. I am Simon Brew as always. There's

absolutely everything you need to know about me. The aim of the podcast though, I'm here to talk

of the stories of film and I tend to talk about development stories, marketing stories, production

stories, release stories, all the 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 choose this podcast, they have more of a mainstream

leading to them than anything else. They're films I'm interested in or invested in to some degree.

I try not to punch down. I try not to do snout. This podcast is a celebration. It's a

celebration of films, the fact that they get made, it's really hard to get made to make them. And I

want to salute the people who do so. With that in mind, my preamble is over. I'm going to crack on

with the first of the two episodes I want to talk about in this episode. I'm going to go back to the early 2000s. I'll play you a clip. I'll come to

the story of this one, the other side of this.

There were 24 kidnappings in Mexico City in the last six days.

Have you protected a lot of children before, Mr. Creasy?

...