used to. Additionally, he was in a dilemma between producing a second RoboCop film and Warren Beatty's screen adaptation of the Dick Tracy comics; he chose to do RoboCop 2, as "RoboCop is my movie and Dick Tracy is more Warren's movie". Paul Verhoeven did not return as he was working on Total Recall (1990). As with the first film, multiple directors rejected offers from Davison to direct RoboCop 2, although for different reasons; Davison reported potentials either concerned about following up Verhoeven's directing or not wanting to direct a sequel film. Alex Cox, for one week, was interested in the project, only to have a viewing of the sequel to The Exorcist (1973) change his decision. Davison first hired his friend Tim Hunter, most known for River's Edge (1986), to direct RoboCop 2, citing his "realistic tone with actors" and "real dark sensibility" as reasons. However, Hunter's vision of an entirely dark product like the first film was at odds with Miller's intention of a dark yet humorous film, leading to a tonally unfocused script by June 1989, 11 weeks before filming started and when Hunter left the project. He was replaced by Irvin Kershner, who previously experienced taking over the director's chair in a film series with the Star Wars sequel The Empire Strikes Back (1980). Kershner luckily had the same goals as Miller, but Davison, earlier in development, made a requirement for a replacement director to not change the screenplay once shooting started; however, given the very close deadline to begin filming and the messy state of the script, Kershner had no choice but to work with Miller during filming, as well as editing, to tidy up the screenplay. Miller rejected other work offers to do this. Kershner's biggest addition was dialogue, as it was part of Miller's writing to be sparse with it; and he also threw out additional scenes written by Green for reasons of Kershner and Miller already re-working the script. Orion Pictures was far more dictatorial with RoboCop 2 than the 1987 first film, strongly going against input from Miller, Kershner, and the actors; and scheduling a release date before the story was completed, resulting in a rushed production. Neumeier and Miner reported this activity going on, claiming Orion controlled the material based on business decisions rather than creativity. According to Weller, the film did not have a proper third act as Orion