As with so many things in British Telefantasy, it all started with Quatermass- "The Granddaddy of them all".

Nigel Kneale's The Quatermass Experiment had broken through fresh televisual turf, when it broadcast live over the six weeks of high summer 1953, that followed the Queen's coronation. A runaway success story for the BBC, it had the distinction of being one of the first mass-appeal dramas on television, and quickly promoted its author from BBC Script Unit fresher to television's most in-demand dramatist.

However, ultimately no matter how hard people like Kneale and later Galton and Simpson pushed against the boundaries of peoples' expectations of television drama in the fifties, television remained a transitory, almost ephemeral art-from. Television wasn't just of the same family as the theatre, it was the poor relation.

History has, of course, been far kinder to The Quatermass Experiment, but in 1953 that was immaterial, and so too was the television series. For television to be considered meaningful it went to the cinema.

The movie rights to adapt The Quatermass Experiment into a film were bought up quickly and easily by producer Anthony Hinds, from the BBC for Hammer Films in late 1953, much in the same way as would the rights to a West-End show, and with a similar mentality and reasoning.

Val Guest, later to be forever tainted by being one of the six directors to helm the infamous Casino Royale debacle in 1967, was appointed as director. Guest, an experienced writer of movie screenplays like that of Oh! Mr Porter (1937), would ultimately end up co-writing the script to the slightly re-titled The Quatermass Xperiment (The Creeping Unknown) alongside Richard Landau. Landau's initial treatment and early drafts for the film's screenplay, written solely by Landau, before Guest's intervention told a far simpler story than the Beeb's television version and effectively the same kind of story as the finished film, but when brusque American character actor, Brian Donlevy became available for the project in 1954, Guest decided to re-draft the film, to allow an American to play the rôle of Kneale's titular hero.

The actor who played the original Professor Quatermass on television, Reginald Tate was never considered for the part. Neither would he play the part again, dying a few weeks before the broadcast of the second television serial in 1955, and only shortly after the release of Hammer's film.

Originally, to accommodate the American market, Landau's first screenplay had recast the television production's Gordon Briscoe as an American, leaving Quatermass as a British character, only changing his name to Doctor rather than Professor Quatermass. It was also talked about making him a significantly younger man, although this was dismissed early on.

Donlevy would later be joined by a host of British character actors including Jack Warner, Gordon Jackson, Lionel Jeffries and Thora Hird (playing a part originally occupied by a pre Steptoe and Son Wilfrid Brambell, in an obviously modified form). The part of Victor Caroon, the man turned giant plant was taken by Richard Wordsworth.

The film went into production at Bray Studios in Maidenhead in late 1954, with later acclaimed cinematography by Walter Harvey, superior special effects by Les Bowie and music by James Bernard. Location work was done in and around South London and Windsor, as well as along Bray High Street a little away from the studios. It finally wrapped in the first few months of the following year.

Re-titled 'The Creeping Unknown' for the Americans, the end product was released in mid 1955, a few months prior to the transmission of the BBC's own sequel to The Quatermass Experiment, the imaginatively entitled Quatermass II, again by Nigel Kneale. It is no secret that, Nigel Kneale was considerably unhappy with Hammer's re-working of his television original and still continues to distance himself from a work which he considers to represent exactly the kind of B-Movie Horror hokum he had been trying to avoid when creating Quatermass, and in which he played no part in the production of.

With Hammer's new title - The Quatermass Xperiment, revelling in its X-rated certificate, it was precisely the kind of Horror by spectacle, rather than suggestion that the BBC production wasn't.

While The Quatermass Experiment had been the first 'experiment' in Sci-fi for the BBC, things like Captain Video, Tom Corbett - Space Cadet and The Adventures of Superman had been dabbling in the art on American television since 1949; it had also been America alone which had really popularised the genre at the cinema throughout the thirties and forties.

It was American companies who picked up the tabs for these films, even though the British made them. In the early fifties, movie making in Britain was just as much forced to ape the Hollywood model as today. The attitude that didn't see Science fiction motion pictures as serious fare would be a concept that echoed through the fifties and sixties.

Quatermass' adult telefantasy, full of all the subtleties and nuances of characterisation were ultimately blunted by an inevitable over-simplification of Kneale's complex psychologies. This inevitability was made only the more real by the absence of any distinction Hammer Films saw between the genres of Horror and Science Fiction- a mental block inherited from Universal Studios' churned out horror pulp of the forties.

The Quatermass Xperiment (Movie Version) wasn't the same as The Quatermass Experiment. Things from the one world of T.V. simply couldn't exist in the kind of B-Movie Hammer made, and vice versa. Journalist Gareth Preston has since pointed out that "how damaging this is depends on what you want... An authentic record of the TV series they are not, but on their own terms they are superior examples of fifties SF cinema."

In spite of Nigel Kneale's many reservations over The Quatermass Xperiment, and indeed largely irrespective of them, the film was a considerable success by B-Movie standards, launching a Horror movie boom in Britain. Since another serial was already in production by the BBC by the time of the film's release (Quatermass II), as with the Dick Barton and Paul Temple film series before it, a sequel was quickly conceived of, based upon the scripts for the BBC's current serial.

Quatermass 2 went into production in the following year (1956). Again directed by Val Guest, Guest repeated his contribution to the movie's script. However, this time Nigel Kneale himself was brought aboard as co-writer. Far closer to the original television story of October and November 1955, Quatermass 2 as with its television precursor is largely regarded as superior to the original. Kneale's script is sharper and Guest's direction more suited to the story. In fact, whereas in the case of the television Quatermass II 's arguably greater reputation to that of The Quatermass Experiment being put down to the absence of a complete recording of The Quatermass Experiment in the archive reducing its legacy, the movie's greater success, supports the idea that it is probably a better story overall.

The film's story was a virtual retread of the original television programme, with only minor pruning of some of the serial's necessary padding for live T.V. and final climax. The film also followed closely the television serial in its location work, filming at the same Shell Haven Oil Refinery as the BBC had a year before. Music for the production was again by James Bernard and Anthony Hinds produced alongside Executive, Michael Carreras. Still working with Tony Hancock in Hancock's Half-Hour on Television and Radio, Sid James joined Brian Donlevy's Professor in the movie's cast-list, alongside Bryan Forbes, William Franklyn and John Longden. The movie was released in 1957 to another reasonable box office; both in Britain and America, where the picture was re-titled Enemy from Space.

Eager to repeat their past success with Kneale, Hammer immediately approached the writer to adapt more of his work for the silver screen. With no third Quatermass script having yet been written (Quatermass and the Pit would not reach the television tubes until December of 1958), Hammer sought permission to film a version of Kneale's live 1955 BBC television play, The Creature.

Another collaboration between Nigel Kneale and Producer Rudolph Cartier, following their work together on the first Quatermass serial and Orwell's Nineteen eighty-four, The Creature had had two ninety minute stagings on the BBC in January and February 1955, a few months ahead of the broadcast of the second Quatermass story in October.

The Creature's original television cast, featured, Stanley Baker (by special arrangement with the British Lion Film Corporation), Simon Lack and a Peter Cushing fresh from playing Winston Smith in Kneale's and Cartier's controversial 1954 production of Nineteen eighty-four. The story's cinematic release, had Forrest Tucker taking Baker's part as the exploitative Tom Friend, and only Cushing remaining to reprise his rôle of the Quatermass-esque Doctor Rollason.

The screenplay, re-titled The Abominable Snowman was this time entirely Kneale's own work, with few deviations from the original product; while Val Guest returned from the Quatermass films as director only. The movie was filmed at Hammer's Bray Studios, with minimal location inserts from a brief shoot in Greenland. It was released toward the end of 1957.

Dumbing down on the more serious overtones of the script's conservationist message, Hammer advertised The Abominable Snowman with the tag line, "Demon-prowler of mountain shadows. Dreaded man-beast of Tibet. The terror of all that is human!!" Despite such seeming sensationalism, it can now be regarded as one of the most serious of Hammer's efforts in the fifties.

Kneale was far more pleased with the work than the previous two Quatermass features, the latter of which he once considered using his joint-rights in, to pull the film out of circulation. However, in spite of Kneale's liking of Hammer's treatment of his latest project, it would be ten years before he would work with the studio again. With no other television projects under his belt deemed suitable of adaption, and no immediately further Quatermass serials in the pipeline for the BBC, Kneale had no more television work left to offer the cinema. This would only change with perhaps Quatermass' most famous outing on both television and celluloid in Quatermass and the Pit.

The sixties brought with it a whole new wave of television transfers to the cinema, and with the increased availability of colour film stocks, it also brought the added incentive of seeing the monochrome of television in full colour for the first time. No better example of this exists, of course, than Doctor Who.

It had been Walt Disney films, who in July 1964 had first gone to the BBC to negotiate the rights to take Marco Polo, writer John Lucarotti's series one, seven episode historical epic, to the cinema. However the prospects for this picture soon fell through, when executive producer for Regal Films, Joe Vegoda approached Doctor Who's first television producer, Verity Lambert and Dalek writer, Terry Nation for an agreement to adapt the first Dalek serial for the cinema instead. Vegoda's Writer/Producer partner Milton Subotsky paid £500 for the project, and an agreement was reached between the two men's production companies Amicus and Aaru respectively to produce the film, which would be distributed through British Lion.

The proposed production was then billed by Subotsky as a "science fiction comedy" in the 12th November issue of Kinematograph Weekly, with Peter Cushing and Roy Castle billed as starring, and whose contracts were finally signed the following month. With an unusually high budget of £180,000, filming was pencilled in to start at the beginning of March 1965, for a later established June opening.

Terry Nation's television serial of seven twenty five minute episodes would be reworked for the film by Subotsky, with some additional input from the television show's former script editor, David Whitaker, who had already adapted the same script into a novel the year before. Terry Nation was contacted to contribute, but was busy writing for both The Saint as well as working on another Doctor Who script for Lambert at BBC television. Subotsky's vision of Doctor Who was radically different from the television show. In effect eliminating the character of The Doctor, as the ancient time travelling exile from an alien world, Subotsky replaced him with an eccentric inventor from Earth, called Dr. Who, living with his two granddaughters, Barbara and little Susan in a London semi. Dr. Who had invented TARDIS, a giant timeship cum laboratory filled with test-tubes and reams of wires, all conveniently packed away into the dimensions of a Police Public Call Box.

Although the characters of Ian Chesterton and Barbara were retained from the first two series of the television programme, they were no longer schoolteachers at the school of the Doctor's granddaughter. Now, Barbara herself was another granddaughter, with Ian Chesterton as the clumsy boyfriend who accidentally launches TARDIS off to the planet Skaro. With the script completed by February, the movie was finally given the title Dr. Who and the Daleks.

Subotsky's comment that "I find it impossible to do a script about mean people," as well as the comparison he drew between the film and Swiss Family Robinson tallies well with the final overall look of the product.

On television, Doctor Who had (and has) always had to battle between being a show for children and a show for adults, often seeking refuge in a middle-ground of 'family' drama that it has made its own. Subotsky, neither sought nor found any such genre-conflict, simplifying Doctor Who's television persona in taking it to picture-goers. A similar thing had been true of Hammer with its re-invention of Quatermass of course. However, whereas Hammer had tinted the shades of grey with the moody blackness of an all out horror, Subotsky and Aaru films did quite the opposite, swapping monochrome for colour, and grit for forth - something far more juvenile - to delight rather than frighten - Dr Who, very much for the kids.

This was reflected in the choice of actress to play the Dr's youngest granddaughter, with eleven year old Roberta Tovey successfully auditioning for the rôle of Susan in early 1965, giving the film a performance, a million saccharine miles away from the angst-ridden moody sixteen year old Susan of the television series' Carole Ann Ford. Ann Bell was originally cast in the part of Barbara, but was subsequently replaced by Emergency Ward 10 actress, Jennie Linden, whose photograph's were quickly circulated as the new 'Doctor Who -girl'.

By this stage original director, Freddie Francis (poached from Hammer) who had worked with Subotsky on 1965's The Skull, had also been replaced by another old Subotsky colleague, Gordon Flemyng. Subotsky didn't hold the director as being all that important to the film, leaving the decision to select the final man, to the eleventh hour. He later explained in the mid-eighties when trying to launch a new Who project in America: "The script is the most important thing... The cult of the director came into being because the critics … think the director is the man who makes the film, but he's not. I don't really think that it's all that important who directs the picture."

Aaru loaned out, for the film, the original plans for the Daleks by Raymond P. Cusick, from the BBC, constructing from these eight new Dalek casings, in a blend of new liveries, to be manned by a mixture of original BBC operators (Robert Jewell, Kevin Manser and Gerald Taylor) and new additions to be trained by the old hands, including Len Saunders who had already done extras work on the television series. Two of these new Dalek props would be used on 14th and 28th May in the third and fifth episodes of The Chase for the television series.

Filming commenced on one of the vast sound stages at Shepperton Studios on 12th March 1965, finally wrapping a week late on Friday 23rd April. Post-production work began immediately, and a new theme-tune was composed by Barry Gray to replace that of the famous Ron Grainer and Delia Derbyshire version. Problems however were encountered when it was realised at the last minute that Flemyng hadn't synchronised the Dalek's lines with the flashing of the dome-lights. This in-turn brought about hasty and often complicated rewrites of the over-dubbed dialogue.

Kinematograph Weekly, the first publication to break news of the production, reported upon its premiere at the Studio One cinema on Oxford Street on 24th June 1965 that the picture would be a "sure-fire popular money-maker; with Barry Norman concluding in the newspapers that it possessed "all the preposterous ingredients of box-office success." Dr. Who and the Daleks went onto national release on 22nd August 1965.

True to Norman's prediction, blanket advertising resulted in massive queues outside the cinemas, with British Lion reporting takings of £2000 by the close of the first week. Tying in, and in part launching the Dalekmania craze of the mid-sixties, the movie's run coincided with the height of the Daleks' use on the television with a further twelve Dalek episodes being screened in the months of 1965 that followed the film's release. A comic strip adaptation of the film was produced by Dell; a LP by Century 21 culled from the television series came the following year, and Dalek slippers, Dalek jigsaws, model Daleks and Dalek slideshows filled the toyshops over the Christmas of 1965, over which period a hundred copies of the film were ordered up for distribution.

With business thriving, and Vegoda (now at British Lion) keen for a sequel, Subotsky and his associate Max J. Rosenberg, had already begun to plan a second Dalek motion picture, by the time of the Christmas rush. Early ideas had included an adaption of Terry Nation's second serial for the BBC, season one non-Dalek tale The Keys of Marinus, but it was clear that the Daleks were the first film's real draw, and so the idea was shifted to another Dalek movie.

Back at Hammer Films, partly in response to the tremendous success of the Dalek movie, Nigel Kneale had been contacted again in connection with the possibility of a film of the now nine-year old Quatermass and the Pit serial of 1958. Shooting on this third Quatermass film would only finally begin in the November of 1966.

Provisionally entitled The Daleks Invade Earth, and a little later Daleks Invade Earth 2150 AD, Subotsky began filming his second Dr Who picture at Shepperton on 31st January 1966. Again, Subotsky had written the screenplay himself, with help from David Whitaker, adapted from the second of Terry Nation's television Dalek stories, The Dalek's Invasion of Earth (1964), and Gordon Flemyng had been rehired to be the movie's director.

Attempts to reassemble the main cast of the first movie met with early failure, when Roy Castle was unavailable to reprise the part of Ian Chesterton, and with Castle now gone, Barbara's character was dropped too. Ian was eventually replaced by Special Constable Tom Campbell, cast as Bernard Cribbins and a new character joined TARDIS' crew in Dr Who's niece Louise, played by international clay-pigeon shooter, Jill Curzon. Peter Cushing, however had been provisionally approached late during the filming of the first film, along with Roberta Tovey, both of whom returned for a second outing.

The picture was more expensive than the first, drawing on additional funds from Sugar Puffs, with product placement in the film itself as well as promotional material in conjunction with the manufacturer after the movie's release. It was also consequently more impressive than the first, with huge hyper-realistic sets and a full size space ship built to represent the Dalek's means of transport. The Daleks themselves were also redesigned more in line with those last seen on the television in The Dalek's Masterplan earlier in 1966.

Like the movie shooting on the adjacent set to Aaru at Shepperton, Casino Royale, the second movie's production was a troubled one. Actor and stunt arranger Eddie Powell had to be taken to hospital when he damaged his leg falling off a roof, and continued supervising the stunt work on crutches. A Dalek operator was also nearly incinerated when he became trapped in a Dalek casing which fell over and caught light, and Peter Cushing fell too ill to work, causing shooting to be closed down for two days, and forcing Subotsky to claim £30,000 money from the movie's insurance company.

Hopes that work on the film would have been over by 11th March, failed to prove possible, and on Tuesday 8th March Subotsky made plans for the film to at least be available by the end of June. Live action work with the cast and crew was finally wrapped Tuesday 22nd March, with model effects work continuing into the start of April. A new score was composed by acclaimed jazz musician Bill McGuffie and the movie went on general release as double bill with western, Indian Paint on Friday 22nd July 1966.

By the time of the film's premiere however, the studio had already missed the boat. The 'Dalekmania' craze had died down. Like the 'Summer of Love' one year later, it hadn't even lasted the summer. Despite another strong P.R. campaign, box office takings were down, and although being probably about as successful as it could have been, the audiences weren't really there to be had. It was replaced at its first cinema by another run of My Fair Lady after just under a month. David Robinson, for the Financial Times wrote "I find the Daleks - cross little dustbins that they are - quite the most unattractive figures in science fiction." The Yorkshire Evening Post dubbed it "the hit of the hols", but despite this, the film could not compete with the success of its predecessor.

A third Dalek movie, again with Cushing and Flemyng, was quickly proposed by Subotsky based on Terry Nation's third Dalek script for The Chase, but Amicus Studios were not eager to pursue it and so the concept was hastily dropped.

The desire to make another Doctor Who related picture would next emerge from Patrick Troughton's time on the show. Following the comparative success of their six part 1967 story, The Abominable Snowmen, during Patrick Troughton's second season (series five), writers Mervyn Haisman and Henry Lincoln, had received an almost instant commission for a sequel, as well as a further script a year later. Pleased with their tale of the Doctor and companions Victoria and Jamie coming across eccentric explorer, Professor Travers hunting for Yeti in Tibet, it was Mervyn Haisman who first broached the idea of adapting the serial into a novel, avoiding BBC copyright, by altering the story not to include the Doctor or the TARDIS, instead focussing on the newly created character of Professor Travers. Travers had, by then, already made a second appearance in the television series in the acclaimed The Web of Fear (1968). Vena Haisman, Mervyn's wife, eventually wrote the novel, from the original scripts.

The manuscript gathered dust until 1973, when Haisman offered the work to Target Books for their Doctor Who range. It was rejected. Haisman recalled in 1998, "Vena's version sat there a long time, until I heard through a director friend of mine that Disney was on the look-out. So I dug it out and renamed the story The Intelligence, and did this film version which went to Disney."

The film would have been of a standard eighty to ninety minute length, and been billed as a separate entity from the T.V. show. It is likely that actor Jack Watling would have been rehired to play Professor Travers as he had in the two BBC serials, being an actor with whom Disney had worked before. However, as Haisman explained, "unfortunately it was a time when Disney was going through one of their lowest financial ebbs. They just couldn't afford it." Haisman even suggested North Wales stand in for the Tibetan locations as it had done in The Abominable Snowmen, but continued Haisman, "it came to no avail. The story's sat there ever since."

Far more successful a project, from the same year as The Abominable Snowmen's broadcast on BBC1, was the third Quatermass movie from Hammer, Quatermass and the Pit - without a doubt the best known of both the television and filmed stories, and a highly popular release from the Hammer studio. Following on from what Nigel Kneale had seen as the butchering of his stories for the first two Quatermass films, he had been reluctant to return to Hammer to adapt his third and final Quatermass story of the fifties, Quatermass and the Pit. However, as time healed old wounds, and with Hammer under new management, by 1967 such a production finally been got off the ground.

A gothic tale of spooks and alien hauntings around a strange unidentified capsule on a London building site, Quatermass and the Pit had been a phenomenal and much deserved critical and popular success for the BBC in 1958, and with such a weight of recent television history weighing upon its shoulders it was always going to be both the biggest gamble and the one with the greatest success likely to garnered. Upon his insistence, it would Nigel Kneale alone who would adapt his six thirty-five minute television episodes for Hammer, and it would be a new director, Roy Ward Baker who would film Quatermass' first sojourn into the world of colour. Previous director Val Guest was tied up on filming Casino Royale.

Kneale altered the setting of the story quite drastically for the film, turning his story of haunted spectres at Hob's Lane into one at Hobb's End Tube Station, the plot however, remained roughly the same in layout, with all the major characters returning for the project. New director, Roy Ward Baker's first choice to play the professor had been Kenneth More, then only fairly recently having completed The Forsyte Saga for the BBC. However negotiations fell through early on, and Andrew Keir, who also appeared in Daleks' Invasion Earth 2150 AD for the Doctor Who franchise, took his place. As Keir later recalled however, Baker was never happy with his second choice, considering him just that - second choice. Keir comments that Baker made life difficult for him on set, saying that: "Normally I enjoy going to work every day. But for seven and a half weeks, it was hell."

James Donald joined Keir in the production as the Canadian archaeologist, Doctor Roney (a part played by Cec Linder in the original television version) and with Barbara Shelley playing the Doctor's assistant. The cast were also joined by Doctor Who stalwart, Julian Glover, who recollected how Hammer's refusal to pay for stunt doubles unless 100% necessary led to him having to be covered in uncomfortable blistered skin-make up and dry-ice before throwing himself into the titular pit, some several feet below. He optimistically said: "Not exactly nice, but there was something to fall onto."

Thanks in no small part to the startling special effects work of Les Bowie (the only member of the production team apart from Kneale to return from the previous two films), and the good fortune of Hammer that saw MGM's Borehamwood soundstages being made available throughout the movie's shoot, the finished 97 minute product dazzled audiences when it was first screened in 1967, being now regarded as by far the most visually spectacular of any of the Quatermass outings in television, radio or cinema. It was advertised with the usual Hammer subtlety with the tag line: "Before man walked the earth. It slept for centuries. It is evil. It is real. It is awakening."

There would, in 1979 be one more Quatermass story on television from Kneale, the enigmatically entitled - Quatermass for ITV starring John Mills. It too would reach the cinema, but only as a re-edited version of the actual television serial for small-scale theatrical release under the title, The Quatermass Conclusion. Quatermass and the Pit, would remain the last true adaptation of a Quatermass story for the cinema, completing a trilogy of films of serials from the fifties, but going no further, which was probably, with hindsight, a good thing after all.

The seventies was not the best of decades for cult British television shows making it to the cinema; with a project masterminded by Tom Baker to film Doctor Who and Scratchman, at the peak of Doctor Who's popularity, falling by the wayside along with many others, including Quatermass 4, which would eventually materialise on television as the four part Mills' Quatermass series. The eighties proved significantly worse, with the shows dying out on television as well as on film. Doctor Who left our TV tubes as a regular series in December 1989.

Towards the end of the century rumours did start to appear that suggested that The Quatermass Experiment and Quatermass and the Pit might be remade again. A version of The Quatermass Xperiment had been drafted by Star Trek writer Dan O'Brannon, which was to follow on as a kind of sequel to the original franchise, with the professor's grandson taking centre stage, in a picture for the newly re-launched Hammer Studios under new head, Roy Skeggs. Kneale lent the film his blessing, but ultimately the picture remains unmade; as too does Legacy, which would have been another remake of Quatermass and the Pit. Legacy, again under the Hammer imprint would have moved events to Washington D.C. and oddly, have disposed with the Quatermass character altogether. That film too, remains unmade.

The Doctor Who franchise would remain within the hands of Milton Subotsky until the mid-nineties with, at one stage, the late Michael Sheard being connected with a third new project, which ultimately remained unrealised. Subotsky had also attempted to make Doctor Who's Greatest Adventure in the 1980s with one of the television Doctors, possibly Jon Pertwee, but backing was not forthcoming. Milton Subotsky died in 1991, with no third Dalek or Doctor Who movie ever making it to the silver screen.

With a lot of the television shows that inspired these cinema releases now gone, the kind of movies that make the transfer today, are far more homages or revivals to a past gone by, rather than continuations of a canon. In 1998 The Avengers movie with Ralph Fiennes became the ultimate personification of this phenomenon.

The cinema has arguably become a conduit through which these otherwise dead series can live on. They are rarely faithful however, with Charlie's Angels, Lost In Space, Mission Impossible and The Saint standing as examples of the logical extreme of such reinvention.

This is not to say that things can't change or won't however.

In 2005 Doctor Who was brought back as a television series, and talks still continue over the seemingly ever-present proposed Blake's Seven - The Movie project. And finally there might be something new as well, with the success of this year's Life On Mars series for BBC One bringing the possibility of something which hasn't been seen in British Television since the 1970s - another straight transfer. Life On Mars the movie is currently in negotiations.