Judge Dredd (1995)
- Ty's Thai Kitchen (Ty Teiger, Prop Master)
- Mary Lou's Reptile House (Mary Lou Devlin, Production Associate)
- Lanzer Bacteriologist (John Lanzer, Production Buyer)
- Allday and Nite Liquor Store & Allday Dining (David Allday, Art Director for vehicles)
- Bill Ying Tong's (Jon Billington, Junior Draughtsperson)
- Grays Marks Dependable Delivery Service (Richard Graysmark, Floor Runner)
- Newman's Dehumidifying (Christopher Newman, 1st Assistant Director)
- Bracey Massage Service (Chris Bracey, Neon work, uncredited)
2. 300m is 98 floors NOT 40 so they didn't need to go to the fortieth floor.
"I loved that property when I read it, because it took a genre that I love, what you could term the 'action morality film' and made it a bit more sophisticated. It had political overtones. It showed how if we don't curb the way we run our judicial system, the police may end up running our lives. It dealt with archaic governments; it dealt with cloning and all kinds of things that could happen in the future. It was also bigger than any film I've done in its physical stature and the way it was designed. All the people were dwarfed by the system and the architecture; it shows how insignificant human beings could be in the future. There's a lot of action in the movie and some great acting, too. It just wasn't balls to the wall. But I do look back on Judge Dredd as a real missed opportunity. It seemed that lots of fans had a problem with Dredd removing his helmet, because he never does in the comic books. But for me it is more about wasting such great potential there was in that idea; just think of all the opportunities there were to do interesting stuff with the Cursed Earth scenes. It didn't live up to what it could have been. It probably should have been much more comic, really humorous, and fun. What I learned out of that experience was that we shouldn't have tried to make it Hamlet; it's more Hamlet and Eggs".
He later elaborated:
From what I recall, the whole project was troubled from the beginning. The philosophy of the film was not set in stone - by that I mean "Is this going to be a serious drama or with comic overtones" like other science fiction films that were successful? So a lotta pieces just didn't fit smoothly. It was sort of like a feathered fish. Some of the design work on it was fantastic and the sets were incredibly real, even standing two feet away, but there was just no communication. I knew we were in for a long shoot when, for no explainable reason Danny Cannon, who's rather diminutive, jumped down from his director's chair and yelled to everyone within earshot, "FEAR me! Everyone should FEAR me!" then jumped back up to his chair as if nothing happened. The British crew was taking bets on his life expectancy.
In an interview with Total Film, he said that the film had "tried to do too much" and "told the wrong story".