The series' staff actually planned on using refrigerator boxes with simple square "windows" cut out, to create cheap-looking cardboard buildings (to play up a "campy" effect, and reflect the preconceived American notion that the buildings in Japanese monster movies were made of cheap cardboard boxes, which is not true; buildings destroyed were usually made from a combination of thinly cut plaster and wood), but Tsuburaya, shocked from hearing this, quickly sent a crew over to the US to create actual detailed miniature buildings for the production.
After this series completed production, Tsuburaya Productions had planned to do another overseas Ultra Series in Hong Kong, but the plans were nixed after the failure of this series (especially in Tsuburaya's failure to find a distributor in the US, where, ironically, this series was produced), and also the financial headache of paying US union fees. Eventually, in 1996, they have since stuck to domestic productions, starting with Ultraman: Tiga (1996), their first homegrown Ultra Series in 16 years.
Upon the success of his film The Guyver (1991) (adapted from Yoshiki Takaya's successful manga and anime series), Steve Wang, a longtime fan of Japanese superheroes (especially Ultraman), was approached to helm this series, but turned it down after Tsuburaya Productions disapproved of the many radical changes he wanted to make to the Ultraman character.
The first Ultra Series to be produced in the United States, although not the first US production in general - the first was the animated TV movie, Ultraman: The Adventure Begins (1987), Tsuburaya Productions' co-production with Hanna-Barbera Productions.
The first live-action Ultra Series to be produced in the United States, though it was never broadcast there nor has it ever received a home media release.