The odd genesis of Doctor Mordrid is a neat case study in low‑budget studio contract maneuvering. In the late 1980s and early 1990s Charles and Albert Band—working through Full Moon Features—used their influence to secure a license from Marvel Entertainment to make a Doctor Strange movie. By the time Jeffrey Combs was hired and the screenplay (by C. Courtney Joyner) moved into heavy pre‑production, the Bands had spent so long developing sets, effects tests and practical sequences that their license window lapsed. Rather than abandon a costly project, Full Moon elected to press forward: they renamed the lead to Anton Mordrid, retooled characters and plot beats, and surgically removed or altered any explicit Marvel intellectual property to keep the film out of immediate legal jeopardy. The result—released direct to VHS in 1992—reads like a textbook example of how independent producers tried to thread the needle between homage, adaptation and infringement.
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