“It absolutely captures the essence of Dredd.” Garland and Urban are both longtime fans of the comic, and together they produced a smart, engaging action movie that treats the material with respect. “If that had been the first Batman movie, I think we wouldn’t be watching Batman movies.”ĭredd got another chance in 2012 with the release of Dredd, written by Alex Garland and starring Karl Urban. “It would be like if Batman & Robin was the first Batman film to come out, with the nipples and the AmEx card,” Bishop says. Unfortunately in America the character is best known from the execrable 1995 Sylvester Stallone vehicle Judge Dredd, which turned the character into something of a punch line. Fascinating reading, though for probably all the wrong reasons.The best-known character to emerge from the magazine is Judge Dredd, a fascist dystopian antihero. I can only imagine that Lippincott (the producer who launched the project, as well as a writer here) was so annoyed at how the other producers had taken over, he didn’t attempt to censor Ms Killick from laying out starkly what a troubled time this film had, which does go some way to explaining why it’s such a lost opportunity.
The post-production section mentions that Stallone involved himself in the editing (since time was tight) and that after Danny Cannon had delivered his directors cut, they all realised there was still some way to go. Various department heads comment that they were given the go-ahead to do one thing, did it properly and were then told it wasn’t right and this appeared to continue throughout production and beyond. The writers struggled, being pulled this way and that and then Steven DeSouza’s shooting script contained scenes and characters the director actively disliked from the very start but still had to film. Reading this directly after “George Lucas: A Life”, which details his disdain for non-creative executives making nonsense decisions about film, this highlights the problem completely, with executive producers, development executives and lots of other people commenting on scripts and design concepts without apparently knowing what they’re talking about. A behind the scenes look at the Stallone version of “Judge Dredd” from 1995, this is split into six parts - 2000AD, development, production, post-production, storyboards and credits - and the writer clearly had full access to the production, which she uses brilliantly.
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