As a keen advocate of practical film-making, a fan myself, and son of the man behind it all - I can't help but feel an immense sense of pride, seeing this project come to fruition. The project is using original 1960s soundtracks, released as audio-only 'mini albums', and will adapt these stories, and film the accompanying visuals.
For me, a film journalist and film programmer, the movies is where it matters. I'm over being precious and no longer want that juvenile desire of exclusivity - I want more mixed race, fluffy haired people on the posters outside Odeon and inside Picturehouse.
This TV phenomenon plainly shows no sign of abating because last week alone we were treated to the less than tantalising trio of Britain's Benefit Tenants, Benefits by the Sea: Jaywick and Dogs on the Dole.
I read it, and even though I was only a kid my mind was truly blown. I think since then I've managed to read pretty much everything else PKD wrote, and it is a stunning body of work. But The Man in the High Castle, for me, stands literally head and shoulders over all the rest.
The act of observation is supposed to be part of the experience, and one that I probably wasn't that comfortable with (which may indeed be the point). To gawp at others isn't art to me, nor is it particularly polite, but it is revealing.
Never before has it been as easy or as cheap as it is to access music than it is today. Nevertheless, in a strange parallel to music becoming easier to source, vinyl sales are on the increase, with the first three months of 2015 seeing a 53% increase in sales from the first three months of 2014.
Vic Godard was the frontman for the Subway Sect... Their music was worlds apart from the 'Chuck Berry chords' of the Pistols or the rock star swaggering of The Clash and they were soon to be the influence to many famous bands we know and love today: the Jesus and Mary Chain, Belle and Sebastian, Orange Juice & Edwyn Collins, The Pop Group; even Pete Doherty, I believe, is a fan.
Adapted from Douglas Lindsay's novel 'Long Midnight of Barney Thomson', Robert Carlyle's directorial debut is a raw comedic Glaswegian twist on Sweeney Todd.