‘Lilo and Stitch’ Director Dean Fleischer Camp on Dominating the Box Office and Why Shooting Stitch’s Death Blew Him Away

It seems that Disney’s live-action remake of “Lilo and Stitch” is poised to continue its reign over the box office for a third consecutive weekend.

The movie, titled “Marriage Story,” successfully outperformed both “Ballerina” and “John Wick” films, as well as Tom Cruise’s “Mission Impossible: Fallout” during its debut. When it grossed an impressive $183 million over Memorial Day weekend, director Dean Fleischer Camp expressed his disbelief, stating, “It was quite astonishing. I’ve worked on smaller films previously, and to see this one gaining such momentum was incredibly validating.

Originally planned for release exclusively on Disney+ as a streaming title, the movie underwent a change in 2024 and was instead released in theaters. Camp, the director, expresses his satisfaction with this decision, stating, “My fellow filmmakers and I always held the belief that it could become a massive summer blockbuster worth watching on a grand screen. I am pleased to say that it certainly delivers on that promise – it’s hilarious, action-packed, and deeply emotional.

Prior to our scheduled meeting, Camp injured his toe, and up until the movie’s debut, he hasn’t had a chance to watch it in front of an audience. He expressed his desire to visit a large cinema and simply enjoy the movie among the crowd, saying, “I really want to experience the atmosphere of a big multiplex with the audience.

In “Lilo and Stitch,” the director Camp, known for co-writing and directing the Academy Award-nominated short film “Marcel the Shell with Shoes On,” guides us through the tale of a child named Lilo (Maia Kealoha), who longs deeply for a close companion. At this critical moment in her life, Stitch, also known as Experiment 626, an alien causing havoc, makes his arrival on Earth – a timely friend for Lilo when she needs one most.

Here, Camp talks about the film’s success, his filmmaking experience and the ending.

Why do you think this film resonated with audiences in the way it has?

The first installment of this movie was released at an ideal moment, standing out distinctly from any other Disney production. Unlike previous Disney films, it seemed remarkably down-to-earth, unique, and authentic. What set it apart was its departure from the traditional fairy tale setting and absence of princess characters.

Stitch possesses an extraordinary level of emotional depth. He reminds me of Marcel in a unique sense; they are both unconventional protagonists navigating a world that doesn’t seem to fit them perfectly. Despite their comedic and adorable sides, there is a wellspring of sadness and emotion within them that resonates with many people. Similarly, Stitch, being a chaos goblin designed for destruction, grapples with the realization that he causes damage wherever he goes, even when his intentions are good. This is something relatable to us all.

It’s hard to imagine a world where Chris Sanders isn’t Stitch. Was it always the plan to bring him back for the film?

In one of my early discussions about the project, I ensured to secure his eagerness to return before committing. It was almost as if I said, “Hello, Chris Sanders,” and they affirmed, “Indeed, he’s looking forward to rejoining us.” Working with him under those circumstances was a dream come true.

The team responsible for creating the initial movie is truly commendable. Their collaborative effort was quite exceptional and remains a favorite experience among many of them when it comes to making films. In essence, they formed a tight-knit family while working on that project, showing immense enthusiasm and eagerness to assist, support, or help in any way possible.

Maia is great. She’s got a wonderful dynamic with Sydney Agudong, who plays Nani. What was it like seeing them come together?

Initially, we selected Maia for the role, and afterwards, finding the perfect chemistry between characters became crucial. When we placed them in the same audition room, it was an immediate connection – as if they had been sisters their entire lives. Their affection for one another was palpable, with Sydney showing great care towards her. Yet, they also exhibited signs of sibling friction, which only added to the authenticity of their relationship.

And of course, Hannah Waddingham is brilliant. What was she like?

She’s simply outstanding! Her humor is just captivating. There are numerous instances where Hannah and the Grand Council seem to let their guard down, saying things unsuitable for a Disney film, but oh, how hilarious it sounds coming from her voice! I’m truly disappointed that we can’t release a red-band trailer featuring those moments.

Going back, what was your relationship with ‘Lilo and Stitch’ before coming in? Do you remember the first time you saw the animated feature?

Absolutely! That movie quickly became my top pick among Disney films, sparking thoughts such as, “Perhaps I could work in the film industry.” It left me astonished due to its unique departure from the typical Disney style.

Or:

Indeed, it swiftly claimed the title of my favorite Disney movie, and even ignited a thought in me – “Could filmmaking be a career path for me?” What struck me was its distinct contrast to standard Disney productions.

What’s this Maia anecdote you’ve been wanting to share?

In the scene where Stitch dies on the beach, we’ve been working diligently for some time. Regardless of how skilled a child actor might be, it’s challenging to portray such intense emotions convincingly amidst the bustling chaos of a film set and with a hundred pairs of eyes watching. Yet, during the first take, Maia delivered an exceptional performance that was as raw and heartfelt as what we see on screen. The scene where she cries and blows her nose isn’t manipulated through editing, but rather it was a genuine, moving moment that caught us off guard. Afterward, I approached Maia and said, “That was incredible. What were you thinking about?” She responded with a simple yet profound comment: “I was thinking about how Stitch will finally get to meet his mom and dad.” Even now, talking about it still gives me goosebumps. It’s clear that this remarkable performance came from the depth of her imagination, and she didn’t learn it from either myself or Sara – Maia is just an incredibly perceptive and talented kid.

When you adapt something, whether it’s from a book or even an animated feature, there’s always a challenge in what gets left in and what gets changed. And so, the internet has had its opinion of the ending. Can you address your decision behind changing the ending?

After giving it some thought, I believe many critics are misjudging the premise of the movie, as they haven’t seen it themselves. Their comments often contain inaccuracies and misunderstandings about the storyline. However, upon watching the film, it doesn’t seem as though the narrative is flawed at all. Instead, you can appreciate the purposeful direction and cinematography that the filmmakers intended.

Two significant dialogues influenced the ending we crafted. Our aim was to enrich the concept of ohana, rooted in traditional Hawaiian values such as collectivism, extended family, and community. Early on in our discussions, Chris, who is of Hawaiian descent, raised an insightful point about the original plot. He felt it was implausible that two orphaned sisters would be left to survive alone. He explained, “In Hawaii, neighbors, church groups, aunties, uncles, and others would intervene. That’s just the culture I grew up in.” This observation led Chris to create the character of Tutu, who ultimately takes Lilo in as hanai. Hanai is a culturally significant term referring to an informal adoption that isn’t based on blood or paperwork but on love and responsibility towards the community. Many Hawaiians who have seen the film appreciate this reference to hanai. It represents a uniquely Hawaiian solution to the question of who comes to help when things go wrong, emphasizing the concept of informal adoption. This depiction underscores the broader community’s readiness to make sacrifices and do whatever is necessary for these girls and their ohana.

It’s impossible to please everyone with remakes. When making one of these films, you’re walking on sacred ground because they are beloved movies people grew up with, and I’m no exception. However, we didn’t want to simply reenact the original film’s scenes; instead, we aimed to tell a truthful story about what it means to lose everything yet find a way forward. People do get left behind, as Nani says, and it’s crucial for the community to ensure they are not forgotten.

You know, there’s an entire Stichverse out there. Would you want to do the sequel or anything else if the opportunity presented itself?

If not due to the emerging market demand, but rather my fondness for the concept, I’d still consider creating an animated spin-off, either as a series with multiple episodes or a limited one.

2025-06-07 21:20