Clifford’s behind-the-scenes story carries the faint smell of studio infighting and creative panic. Co-writer Steven Kampmann—who had conceived the movie as a comic riff on The Bad Seed and even tested the idea of Martin Short in the child role—was originally hired to direct. Early in production, however, “disagreements” between Kampmann and other members of the creative team escalated to the point that Orion pulled the directorial reins and installed Paul Flaherty (a colleague of Short’s from SCTV) to shepherd the picture to completion. Producer Larry Brezner had already paused the project at one juncture when he feared Clifford would be confused with the similarly themed Problem Child; that worry, combined with on-set creative friction, produced a series of stops, starts and personnel shuffles. The reshuffle left fingerprints on the final film: improvisational claims from co-star Charles Grodin (who later said he and Short improvised large stretches) and odd tonal inconsistencies critics pounced on. The director replacement and production halts exemplify a small-scale, all-too-common Hollywood drama—where competing comedic instincts, producer caution, and studio interference reshape a movie long before it reaches audiences.
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