As of not long ago, George Clooney has been a silver fox who has to a great extent adhered to the cinema.
In spite of initially making his name during the 1990s therapeutic show ER, the most recent two decades have seen him stick to film industry crushes like Gravity and Ocean's Eleven.
The not many TV appearances he has made have been for live TV specials or appearance appearances, however for his most recent task, Clooney is handling something a lot greater - Catch 22.
Another adjustment of Joseph Heller's 1961 exemplary humorous novel is going to hit screens, with Clooney one of the stars, yet additionally a chief and official maker.
The on-screen character has joined a string of extra large screen names - like Richard Gere, Julia Roberts, Jane Fonda, Jennifer Aniston and Reese Witherspoon - in moving to the little screen for his most recent endeavor.
"George Clooney has come to TV for a reason," composes Daniel D'Addario in Variety. "It's an approach to surmount a dubious bit of the American artistic standard, yet to do as such with the advantage of six hours and spilling administration cash."
Clooney himself recognizes gushing offered a method for recounting to the story which discharged him from the limitations of film.
"A great deal of the kind of stories that I like to tell don't include superheroes," he reveals to BBC News.
"So it's not such a terrible thing to have the option to do these sorts of stories on spilling administrations, so it's incredible.
"I read [Catch-22] 40 years back… when I was simply conceived!" he jokes, "and I simply recall it being an exceptionally unique book. I didn't recall that much about it, yet then the screenplay came around and I thought it was incredible, only a fabulous story."
Is his definitive objective that watchers will be slanted to peruse Heller's artistic unique?
"In the event that you ever do whatever urges individuals to peruse, that is most likely a smart thought, since that doesn't occur all the time," Clooney answers.
"Why perused when there's such great TV out there?!"
While Catch 22 is the title of a Joseph Heller tale above all else, its importance has taken on its very own real existence in the English language.
The catch happens when every one of your alternatives in a circumstance lead to the equivalent disappointing result. Whatever you do, you can't win.
In Heller's book, an American World War Two aircraft pilot called Yossarian was gotten in the first Catch 22.
Positioned in Italy and terrified of being shot down, he needed to be pronounced crazy so he could be sent home.
Be that as it may, military principles said dread of death was a reasonable reaction, so any individual who requested to be grounded couldn't in any way, shape or form be genuinely insane. What's more, the individuals who were crazy would not demand to be sent home in any case, as they wouldn't fear the peril. Thusly, adequately nobody could be sent home.
The 1970 movie adjustment of Catch 22, coordinated by Mike Nichols, got a blended reaction from spectators and pundits.
Many felt that handling such a transcending work of writing in two hours was a practically incomprehensible undertaking.
"Actually, the book is a major, rambling, wonderful wreckage of a book," chief and star of the arrangement Grant Heslov reveals to BBC News.
"Furthermore, I think Mike Nichols would let you know, two hours isn't sufficient opportunity to recount to that story. So for us, we found the opportunity to truly dive into the curves of all the real characters, and you just couldn't do that in a film."
Specifically, the unpredictable lead character of Yossarian, played here by Christopher Abbott, is given a lot of time to take in this emphasis.
"We needed to get the best entertainers we could for the venture," Clooney clarifies.
"Be that as it may, he includes with impeccable comic planning, "we couldn't manage the cost of them, so we got these folks.
"What's more, Hugh [Laurie] helped us out," he says of the undertaking's other huge name. "We're a piece of a crew, we played specialists."
Laurie (popular for playing a specialist on House as Clooney was for doing on ER), is likewise amiable about tolerating the idea to star in the undertaking.
"At the point when the sovereign sends a sign over the water, you drop whatever it is you're doing and answer the call," he says.
"In the event that what you're doing happens to be nothing, it's somewhat simpler."
Laurie plays Major de Coverley in Catch 22 - an adjustment that has gone down comprehensively well with faultfinders.
"Predicament is a practically flawless arrangement," composed Merrill Barr in Forbes.
"Each on-screen character is carrying their A-game to the table and the composing is completely first rate.
"What's more, on account of its short scene request, the arrangement is likewise going to fill in as a lively ride that won't before long be overlooked by those that jump on."
Writing in Vulture, Matt Zoller Seitz stated: "It works preferable as a TV appear over you may think, however not all around ok to control the inclination that we presently can't seem to consider a to be as scorching as the source material."
In any case, said Mike Hale of The New York Times: "Obviously the Catch 22 of Catch 22 is that to put it on screen, you need to kill it.
"On the off chance that you aren't especially joined to the book, and on the off chance that you have a desire for World War Two melodramas with bunches of enormous band music on the soundtrack, at that point this Catch 22 may suit you fine."
He added the choice to recount to the story in sequential request of the book "has the impact of decreasing Yossarian".
"The outcome is that for the greater part of the arrangement, Yossarian just appears to be touchy and whiny - rather than living inside his breakdown, as you do in the book, you sit tight for it to at long last arrive."
Talking about how he started the way toward adjusting the book for the screen, co-essayist Luke Davies jokes: "I began with dread, torment and nervousness.
"Simply attempting to work out how to wrestle it into shape, it's such a huge, thick novel. So I began with whiteboards."
Maker and chief Ellen Kuras clarifies the exemplary novel "was required perusing in American secondary schools.
"I recall it as something that was drifting. It was topical and yet it was difficult to pursue."
Without a doubt, when it came to contemplating the source material in anticipation of her job as Nurse Duckett, Tessa Ferrer went to progressively present day innovation to help digest it.
"I returned and forward tuning in to it as a book recording and understanding it on Kindle, so I could complete it in an auspicious way!
We ask all the cast and creatives what it resembled working with Clooney, and all state he was an absolute pleasure. All things considered, practically all.
"It's horrible. He's hopeless, he grumbles a great deal, he is with no appeal at all," jokes official maker Richard Brown.
"He's not by any means attractive! Every last bit of it's an untruth."
Lose-lose situation starts on Thursday 20 June at 21:00 BST on Channel 4.