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Originally, Chris Sanders[?] had the movie set to take place in Kansas. Stitch crash down that state, and live among mild-mannered forest animals, in a mix of Predator and Bambi[?]. This was a plot device to allow Stitch to crash land, and other spaceships to cruise around without much notice.
It remained in Kansas until Chris Sanders glanced at a map, noticing the smallness and "finite" size of Kauai.
This posed a question of functionability. No other feature-length animated movie had ever taken place on any of the archaepeligo of Hawaiian Islands before, and so the choice seemed less than obvious.
When visiting Kauai his mind was changed by a tour guide, who expounded on the meaning of ohana and extended Hawaiian families. This theory of ohana became an important part of the movie.
Dean DeBlois recalls that,
In the past, the Garden Island of Kauai has starred in such cinematic triumphs as Raiders of the Lost Ark and the Jurassic Park trilogy. As previously mentioned, Kauai was not the first setting chosen for the movie, but another secluded, idyllic setting was, Kansas.
But the animators faced the taunting task of the clashing messages the plot had with the settings. While the plot showed the stark, impoverished, dysfunctional life that many Hawaiians and other Westerners lead during this economic downturn, the island is full of pure serenic beauty.
So, to give a brighter, purer image to the backgrounds, the studio resurrected an animation technique not used since Dumbo in 1941, watercolors. DeBlois says that due to the production schedules, which have continuously tightened since Dumbo, watercolours are risky — even one wrong stroke can ruin a piece. And with some 1,200 creations for this movie to be shot upon, there is certainly no time available for waste. As Sanders pointed out, the opaque gouche and acrylic paints used now, industry standard, is much more forgiving than watercolor, if you make mistake, just paint over the top and nobody will ever notice. Without the element of forgiveness in watercolors, the artists had to plan everything out exactly before they started, in order to avoid mistakes. Also, an advantage to the current ways of creating the backgrounds was that although the overall image may seem grayed compared to the brilliance of the pigments of watercolors, the latter medium does tend to show all of the brush strokes, looking somewhat sketchy.
Sanders and the studio's Backgrounds Department searched and searched for medium to use to give the same look as they wanted, but that was more forgiving, but found that even after over a half century of progress, nothing looks like watercolor except watercolor. Therefore, the Orlando crew took a crash course in the technique, and used traditional watercolour.
The ending of Lilo and Stitch was completely revamped, due to the unfortunate circumstances of September 11, 2001. The original ending features Stitch stealing a 747, then joyriding among the office and hotel towers of Honolulu, as Stitch is attracted to urban centers[?].
Within a few minutes of news of the disaster, the scene of the plane careening among the buildings was scrapped. Inserted in its place is a giant spaceship for the plane, and cloud were substitutes for buildings.
From a studio that is often blamed for recycling characters and plots through seemingly endless sequels, to the filmmaking industry in general, often blamed by critics for not coming up with any strong, original ideas, Lilo and Stitch is a witty comedy with a heavy dose of reality, strong characters and writing, and more importantly originality.
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