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Lilo and Stitch
Transcript of Lilo and Stitch
Disney's Chris Sanders and Dean Deblois
Mpaa rating: PG
Family, Animation, Adventure, Action, Comedy, Sci -fi
Cast: Daviegh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin McDonal, Ving Rhames
Nominated for Academy Award for
Best Animated Feature
#1 Us Billboard top soundtracks
ASCAP Top Box Office Film
Nominated for Academy of Science Fiction Best Animated Film
Annie Award Outstanding Voice Acting in an Animated Feature Production
Daveigh Chase As the voice of "Lilo".
Nominated Annie Award for: Achievement in an Animated Theatrical Feature, Character Animation, Character Design in an Animated Feature Production, Directing in an Animated Feature Production, Effects Animation, Effects Animation, Music in an Animated Feature Production, Production Design in an Animated Feature Production, Writing in an Animated Feature Production
Sequals: Lilo and Stitch 2: stitch has a glitch; Stitch! The movie, Leroy and Stitch, Lilo and Stitch: the Series
US Billboard top 200
'The story of a little creature created by genetic experimentation and bound to prison with his evil creator. Stitch escapes and heads for Earth where he tries to impersonate a dog and gets adopted by little Lilo, whom, bent on self preservation, he plans to use as a human shield to protect him from the aliens sent to recapture him. But without a greater purpose in life, no friends, family or memories, Stitch does a little soul searching and begins to understand the meanings of "love" and "family" and his feeling for Lilo begin to change.'
Written by Sue Gilbey
"Animation has been set so much in ancient, medieval Europe — so many fairy tales find their roots there (in Kansas), that to place it in Hawaii was kind of a big leap. But that choice went to color the entire movie, and rewrite the story for us."
No matter where we went, our tour guide seemed to know somebody. He was really the one who explained to us the Hawaiian concept of Ohana, a sense of family that extends far beyond your immediate relatives. That idea so influenced the story that it became the foundation theme, the thing that causes Stitch to evolve despite what he was created to do, which is destroy.
There was a deleted scene in which Lilo introduces Stitch to Pudge the fish, which ultimately leads to the fish's death. Lilo then takes Pudge's body to the same graveyard where her parents were buried, and thus Stitch learns the consequences of his actions and gains a better understanding of mortality
When Lilo explains about how she desperately needed to give Pudge the fish a peanut butter sandwich because he controls the weather, it seems that she is just being random, but there is reason behind it: Lilo's parents died in a rainstorm.
also interpreted as "Lost" and this would give the song title "He Mele No Lilo" a loose translation as "Lullaby of the Lost".
The character of Cobra Bubbles, voiced by Ving Rhames, bears a marked resemblance to the gangster he played in Pulp Fiction (1994), right down to the same earring.
The production team spent weeks in Hawaii studying the geography, buildings, vegetation, and even the way the light falls from the sky at different times of the day. They painted and photographed houses, businesses, mountains, bridges and sea coasts, and incorporated many actual locations into the film. The craft is shown landing on the lush North Shore, all the better for the many surfing and beach scenes. But when the illustrators wanted to find inspirations for a sleepy town to model Lilo's home upon, they found it on the opposite side of the island. Dean Delios is quoted as saying "In the small town of Hanapepe, I found all the usual homey details, ranging from rusted-out bridges to homemade mailboxes. In particular, I was interested to see how these details weathered in Kaua'i's unique climate. I took as many pictures as I could but tried, at the same time, just to soak in the general atmosphere, which is hard to reproduce in photographs. I certainly recall being impressed by the saturation of colors and the ever-changing moods of the skies and landscape."
Interestingly, what finally became the prevailing message of the film was not included in the original story. Only after visiting Kaua'i and hearing a tour guide speak of 'ohana and the extended Hawaiian families that exist throughout the islands, did Chris Sanders realize that this would fit in nicely with their story and should be a major focus of the film. To their credit, the film's creators did not attempt a detailed explanation of 'ohana. They let the circumstances of their film and a two simple sentences convey their message in a way that every child, or adult, viewing the film will understand.
At the beginning of the film Lilo's 'ohana consists of herself and her sister, Nani. (Their parents had died in a car accident.) Gradually Stitch becomes the third member of their little "broken" family. By the time the film ends, and in scenes from events which take place after the film, we see that their new 'ohana has added quite a few new members including Nani's boyfriend David, the social worker Cobra Bubbles and even the two aliens who were originally sent to capture Stitch, his creator Jumba and sociologist Pleakley.
Lilo And Stitch
Kirsten L. McCulloch: Film Clip Friday
" He Mele No Lilo "
Introduced to lilo, Establishes setting for the film
Signals a theme of lilos character as lonely, unable to fit in, different etc.
Symbolism of 'pudge the fish'
ice cream man motif
Music: cultural setting, paced with plot, synced with choregraphy for traditional hawaian dance, lyrics translate into fable of hawiis beautiful landscape establishes up beat and cheerful tone;
Vibrant color scheme, establishing shots for setting, jump cus between lilo at the beach and the dance at the studio until theyre joined, transitions trough waves and bubbles in the ocean, lower eye level shots
In a deviation from several decades' worth of Disney features, Sanders and DeBlois chose to use watercolor painted backgrounds for Lilo & Stitch, as opposed to the traditional gouache technique. While watercolors had been used for the early Disney animated shorts, as well as the early Disney features Snow White and the Seven Dwarfs (1937) and Dumbo (1941), the techique had been largely abandoned by the mid-1940s in favor of less complicated media such as gouache. Sanders preferred that watercolors be used for Lilo to evoke both the bright look of a storybook and the art direction of Dumbo, requiring the background artists to be trained in working with the medium. The character designs were based around Sanders' personal drawing style, eschewing the traditional Disney house style. The film's extraterrestrial elements, such as the spaceships, were designed to resemble marine life, such as whales and crabs
Traditionally the Disney Company has told stories which focus on directly good versus evil conflict, strong traditional family roles, and the personal growth and discovery of teenage "princesses" or "princes". "Lilo and Stitch" possesses none of these element. It is this departure from the conventional essentials of Disney storytelling that, to me, makes this film so interesting. "Lilo and Stitch" removes itself from Disney's religious and moral "safe ground", with particular focus on the characters themselves, and the various ways they forge new lines into the Disney worldview. One innovative and unique aspect of the film was its strong focus on the relationship between two sisters, Lilo and Nani. Making the relationship between sisters into a major plot element is very rare in American animated films, although Disney would again highlight the sister-to-sister bond over a decade later in Frozen (2013). What I also apprecoate, is that the body shapes and sizes are a bit more realistic/varied than in other Disney movies. True, Nani is still a pretty slim woman, but her proportions are more realistic than a lot of the my-head-is-bigger-than-my-waist princesses, and she also has big thighs. Lilo, along with the other children in the movie, are great because many of them are a little “chubby” but it’s not seen as a bad thing, it’s just what children look like.
A Model Citizen
With that the Introduction of Cobra bubbles, the current social worker:
The film touched on the struggles of poverty in a truthful way, showcasing Lilo and Nani’s struggles to make ends meet in Hawaii’s depressed economy. Their parents died suddenly, leaving 19 year old Nani with the responsibility of caring for Lilo and their house. Under the shaded eyes of social worker Cobra Bubbles goodness is defined as being able to maintain a job and a nurturing environment, as well as being able to be a "model citizen". This view is related to the original definition of goddness presented by the Grand Council Woman, but takes in the specifics of employment and behaviour. Lilo then further narrows this definition by attributing being a "model citizen" to Elvis, thereby beginning a sequence of scenes in the film in which dance, musical ability, and romance are the pinnacles of goodness. This is the turning point of good, having been taken in definition to the point of being nearly absurd. It relates well with reality however, with a popular culture that defines success as fame, carrying implied goodness with it. With this specific evolution of goodness Disney appears to me making a somewhat hypocritical comment on the reality of American pop culture, especially as Stitch rampages out of his Elvis guise revealing the evil hidden behind the ideal.
Hawaiian Rollercoaster Ride
Aloha Oe is a traditional Hawaiian song composed by Queen Lili'uokalani in 1887. It is a notable song sung by many individuals including Johnny Cash and Elvis Presley.
Ugly duckling allusion
Surfing as a symbol of happiness, stitch feeling as though he is left out - without a family - alone, the dynamic of david nani and lilo as a family, focus on the main theme of family, happiness in the midst of disaster
Happy music to set the tone, hawaiian rollercoaster ride as a metphor for surfing, development of david and nanis relationship, focus on facial expression with the absence of dialouge, strenght of nani exemplified
water color matte painting of the sunset as back ground, suset lighting contributes to cheerful tone, sanders plays with the rection of distortion of the water and the way in which the waves fall, play with point of view shots, iconic eye of the wave shot
Until we meet again
conflict of poverty and the seperation of the sisters, Aloha 'Oe as a symbol of hope, climax of the movies plot, flowers as a metaphor for the two sisters,
setting at night in a sacred and peaceful place of being, simple but beautiful, sentimental but despondent tone, stitch remains a silent but considerate bystander unknown to the sistes
Further develops the sentimentality of lilo and nanis relationship, stitch remains detached, Aloha 'Oe pace and tone cues pathos in the viewer, lyrics translate into the narrative of seperation which extend further upon the plot and symbolism of the scene, physical closeness, reflection on to the death of their parents
absolutely stunning asthetic, deep blues and greens in stitches focus casting the depression in tone, in the color scheme, matte painting of starry background, deep navy blue in great contrast to the vibrant colors of the sisters, mainly sticks to one medium shot giving more focus to dialouge and meaning, torches cast romantic light on the sisters
In Lilo & Stitch, a key scene features Stitch asking Lilo about the story of "The Ugly Duckling." A picture book that Stitch finds in Lilo's room shows a swan exclaiming "I'm lost!" on one page while being united with his "family" on the next. After Lilo explains the images, Stitch goes out into a clearing and says "I'm lost!" hoping that his family will come find him. Certainly, Lilo & Stitch doesn't follow the storyline set up by Hans Christian Anderson in his original telling. But like Lilo & Stitch, "The Ugly Duckling" does take a look at the meaning of family and examines the idea of unconditional love. Disney has touched upon "The Ugly Duckling" theme before, specifically in two Silly Symphony cartoons produced in the 1930s.
Water color paintings of Kauai
Lilo And Stitch: The Basics
Why i absolutely adore this movie...
first full length animated feauture to be set entirely in Hawaii
Devil in Disguise
Elvis as a metaphor for how stitch should act: able to sance, play guitar, and be a 'master of love'; conflict of Nani loss of job, reapper motif of the Ice cream man, continuation of elvis motif, comedic additions to lighthearted tone
Subtle turning point in stitches character, Elvis' devil in disguise, exemplifies stitch strong tie to destruction, but stitch also demonstartes remorse for his actions, Nani expresses desperation in the midst of lilos enjoyment to emaple contrast in attitude and understanding
Cut's between Nani and lilo and stitch, actual pictures of elvis as oppsed to drawing, frequent change in setting - more long shots to signal such, jump cuts and voice overs in alternate scenes froeshadow conflict
Good and evil are normally very separate and distinct things in Disney films. There are few moral grey areas, and generally the good guys are easily recognized as being good, and the bad guys are recognized as being bad.This radical and frequent altering of the roles of protagonist and antagonist is not generally caused by changes in personality. Rather, the writers accomplish the task by constantly altering your personal definition of what good and evil are. This occurs on both ends of the scale.
Goodness, in varied amounts throughout the movie, is defined in several different ways. Goodness is re-characterized as the willingness and ability to break rules in order to protect others.This change in his perceived role is consistent with his rebellious personality, and reveals that, according to this film, goodness has less to do with behaviour and more to do with the goals which one takes action towards.
Evil too, is radically altered in its definition through the course of the film. The first villain presented as his disrespect for natural laws, in his creation of Stitch, and his disrespect for the laws of society, in his intended purpose for Stitch as a monster. Stitch is our second example of evil. He represents a complete inability to fit in with the established culture, and a total lack of reason. Together they serve as indicators that evil is, by definition, anything which falls outside of what the governing society wants or expects. The film continues to maintain the concept that to be "evil" is to be anti-social and ungovernable. Towards the end evil is now the force that is preventing the freedom of the main characters, and ignoring the possibility for compassion. This is further solidifies at the end of the film when the Grand Council Woman and Cobra Bubbles bend the rules of their society in order to show compassion for Lilo and Stitch and punish Gantuu, showing that the authorities now see evil where once was good, and good where there once was evil. They all remain basically the same, and the moral compass spins around them.
The greying of good and evil