Dredd and Anderson, both shot, leave down the elevator to the front entrance. In the aftermath, as the two judges exit the compound, Anderson accepts that she failed her evaluation by losing her primary weapon and walks away, giving her badge to Dredd. The Chief Judge then asks Dredd about Anderson's performance; he responds that she was a pass. At the end of the movie however, we see Anderson walking out of the Judge headquarters, holding her gear and riding off in a motorcycle, showing that she is still a Judge.
There were three treatments that Alex Garland wrote before settling for the present story. The first treatment involved the Dark Judges and was about the encounter between Dredd and a rival judge by the name of Judge Death.
However, Garland abandoned it after a year's work and 16 drafts on the story admitting that he couldn't crack much on that storyline and feeling it would be a bit much for audiences to be introduced to the world of Judge Dredd.
The second treatment is related to the Dredd and Cursed Earth storyline based on the Origins comic strip but was abandoned for the similar reason, as Garland liked the idea but felt that it would serve better as a sequel.
The third treatment was an adaptation of the pro-democracy terrorists attacking the judges storyline but Garland felt that story and his ideas towards it were too grandiose in nature but stated that treatment would also have been a sequel, the third part of a trilogy, if there would be one.
The final script that he wrote was based one of the punchier short stories in the vein of cop movies such as Die Hard or Training Day. John Wagner described the script as correcting the mistake in the Stallone-starred version that was being too sweeping. The movie was filmed entirely in South Africa in 3D with stunning slow motion photography sequences, the film returns the celebrated character to the dark, visceral incarnation from John Wagner and Carlos Ezquerra's revered comic strip.
The filmmakers decided that Dredd should appear lean and fast like a boxer rather than bulky like "someone who spends hours sort of steroiding himself up. Dredd is out there on the frontline so he needed protection. Urban said: "He is supposed to be the faceless representative of the law and I think that is part of his enigma You wouldn't get to the end of a Sergio Leone Western and go, 'God, I didn't even know the character's name!
Dredd's signature weapon, the "Lawgiver" was developed as a fully operational weapon based on a suppressed 9mm Glock 17 firing system, capable of firing ammunition and being changed from automatic to semi-auto fire. Internal magazine changes were also incorporated into the design.
His motorcycle "Lawmaster" was a modified cc motorcycle. A large fairing was added over the motorcycle with machine guns, an extended wheel base and the largest functional tyres possible. The vehicle was also operational and Urban insisted on riding it himself rather than relying on Chroma key visual effects.
Wagner described the necessity of adaptation from the source material and said that the film's attempt to directly replicate the comic's motorcycle was unable to steer because the tyres were too large. The Slo-Mo sequences were highly praised and designed over several years with the intention of replicating the effects of hallucinogenic drugs, combining high-speed photography and colour saturation.
Alex Garland questioned if the effect could make the film's violence beautiful. Note how all 3D versions actually have the blood going outside the screen bars to enhance the illusion. They experimented with an effect to replicate the visual effects of hallucinogenic drugs to see how long it could be used before it distracted the viewer from the story or action sequence.
They continued to develop and modify the effect until the end of post-production, tweaking colours, colour saturation, image framing and camera motion. Slo-Mo scenes also feature a rainbow colour scheme and sparkle highlights to create an unreal and otherworldly effect. The filmmakers experimented with blood bags, prosthetics, shooting real bullets, and compressed air to see the effect of direct body hits in slow motion.
In the finished film, compressed air was used to create impact ripples on flesh. Garland said the concept was inspired by nature documentaries that used high-speed photography to capture animals in slow motion. He said, "You see a whale or a shark breach the water Somehow like a real [drug] trip, sort of stepping outside it but staying attached at the same time. He said: "Can it be so abstract that it becomes genuinely beautiful? Paul Leonard-Morgan wrote the film's industrial music score, which has been acclaimed.
Leonard-Morgan created music to suit the film's futuristic setting. He experimented with band-based music, but decided it sounded over-produced and too safe. He turned to electronic music and used s-style synthesisers and modern sound modules to create various combinations and applied distortion and other effects to the result. Leonard-Morgan said, "I was looking to create a timeless score which couldn't be placed in any particular era.
So it's ended up being a cross between a modern dance track and evocative soundscapes. Dredd is as repressed as they come, emotion-wise, but has, in his time, captured criminals, stopped wars and — on at least one occasion — saved this and all universes from total annihiliation. So, thanks, we guess. Fun fact! Dredd proceeds in lockstep with the real world, time-wise. Dredd is now in his 70s it's a little complicated: he was born in but, as a clone of Chief Judge Fargo, his growth had been artificially accelerated to age 5, so call him 73 and, four years ago, was diagnosed with a benign cancer of the duodenal.
Still, drugs and treatments should keep him active a bit longer. He previously appeared on screen in 's Judge Dredd, which starred Sylvester Stallone as a version of the character who spent most of the movie with his face on show. It's essential to note that Dredd has never shown his face in 35 years of the comic. On the vanishingly rare occasions that he has removed his headgear see, for example, The Oxygen Desert , his face has been obscured by shadows.
So Stallone's decision is rather like choosing to play Wolverine as a pacifist, or Superman as a bully. This was not a good move, and the film is generally hated.
Karl Urban has assured us that he will not be making the same mistake. It was not my Dredd, and it was not the way the character was written. He is supposed to be the faceless representative of the law, and I think that is part of his enigma, what makes him interesting and cool.
In , Karl Urban donned the helmet for " Dredd ", a much more gritty and grown-up version of the unsmiling lawman. Fans loved it, and have been calling for a sequel ever since. That movie certainly nails the lead character of Dredd himself, but for me -- a fan who's been reading "AD" since I was a teenager -- it misses the mark everywhere else. To see those things done properly, we have to look to the movie, which got more right than you might remember. Now, I'm not saying the '95 "Judge Dredd" is a good movie.
It could have been a perfectly enjoyable '90s sci-fi action romp in the vein of "Demolition Man" or anything with Christopher Lambert in. But it's fatally undermined by ripe dialogue, forced attempts at comedy and horribly misjudged casting.
It had enough cash to realise the visuals properly, and absolutely nailed the look of Mega City One. The sets, costumes and vehicles were fantastic. And the opening scene, in which returning citizens descend from a soaring sci-fi megalopolis to teeming, war-torn streets, was as succinct an introduction to Dredd's turf as you'll ever see. The costumes, sets and vehicles in 's "Judge Dredd" look fantastic except maybe the codpiece.
But it's not just about budget. The '95 movie drew more more shrewdly on the comic's abundant history than the version. From undead dark judges to mutated gorilla gangsters, from Soviet assassin Orlok to face-changing serial killer PJ Maybe, the comic has been stuffed with some of the most colourful, imaginative and complex villains seen in comics.
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