[Note: In 1991, US Executive in Charge of Production Susan Nicoletti (who I had previously worked with on Night Life) called me up from Los Angeles. She was worried that this film wasn't getting the right kind of coverage and asked me to come on board. As there was a publicity agency already working on the movie, I joined the crew under somewhat modified titles. The film was mostly shot on flooded locations at the Hartley Jam Factory on London's Tower Bridge Road. It was not a happy experience—the original publicists resented my presence, while Rutger Hauer was one of the most uncooperative actors it has ever been my misfortune to work with. When the director left the production before the completion of principal photography, everybody was forced to chip in and help before a replacement was brought in. I ended up re-writing the opening screen titles to try and make some sense of the futuristic setting. At least I got to hang out with legendary American character actor Michael J. Pollard, who was lovely. The script was written by Associate Producer Gary Scott Thompson, who went on to become the show runner and executive producer of the revived Knight Rider TV series (2008-09), while Stephen Norrington (the future director of Blade and The League of Extraordinary Gentlemen) was in charge of the impressive creature effects (barely seen in the finished film). Executive Producer Keith Cavele owned the rights to the classic Moody Blues song 'Nights in White Satin', which is why it incongruously turns up on the soundtrack. Some months later I found myself with Keith, Susan and Producer Laura Gregory having meetings in The Beverly Wilshire hotel at Rodeo Drive helping to sell the film's US rights.
—Stephen Jones].