Lilo & Stitch [Walt Disney - 2002]

Le blu ray ressort aux US le 31/01

La jaquette de la nouvelle édition.

photo prise du forum blu-ray.com

Disney+ propose le film de Lilo et Stitch dans sa version censurée du DVD britannique de 2010. Cette censure concerne la scène où Lilo se cache dans le sèche-linge pour éviter Nani. Ils ont remplacé la porte du sèche-linge par une boîte de pizza et le sèche-linge par un meuble.

Ta deuxième phrase est contradictoire avec ta première. Si cette version existait déjà en DVD auparavant, il ne s'agit donc pas d'une censure par Disney+.

La question qui se pose, à l'ère du tout dématérialisé, c'est comment Disney+ va justement pouvoir continuer à proposer la diversité des versions de ses films ? Parce que, bon, "Lilo & Stitch" est très loin d'être un cas unique. Quid des films tels que Toy Story 2 (le drapeau américain remplacé par un globe à l'international) ou encore Zootopie (les différents présentateurs de journaux TV selon les pays) par exemple ? Ça peut paraître anecdotique comme ça, mais ça signifie quand même que Disney+ doit stocker autant de fichiers numériques que de variations de ses films qui existent, aussi infimes soient ses modifications, ce qui représente un sacré paquet d'octets.

Y'a pas de système multiangles comme sur DVD et Blu-ray en VOD à ce que je sache, il faut donc générer obligatoirement un gros fichiers vidéo à chaque fois. Pour un changement aussi mineur que le sèche linge pour Lilo, j’imagine bien Disney se dire "Bon, comme les anglais vont sans nul doute nous prendre la tête avec ce sèche linge, mettons juste la version corrigée pour toute l'Europe, tant pis pour la minorité qui s'en apercevra"

Dash a écrit:

Ta deuxième phrase est contradictoire avec ta première. Si cette version existait déjà en DVD auparavant, il ne s'agit donc pas d'une censure par Disney+.

C'est modifié.

J'ignorais l'existence de cette censure... C'est quoi le souci avec le sèche linge ?

Disney UK avait modifié la scène où Lilo se cache dans le sèche linge, par un meuble entièrement ouvert et une boite de Pizza, en guise de "porte" pour se cacher, sous la pression des associations de consommateurs à l'époque qui craignaient que les enfants ait l'idée de reproduire la scène chez eux.









Je retrouve plus la source (trop ancienne), mais cette modification existait déjà dans le 1er DVD UK de 2002 de mémoire, c'était pas une exclu de la réédition de 2010. Les réseaux sociaux le réalisent juste avec 18 ans de retard.

On en apprend tous les jours ^^
Franchement je ne pense pas que cette censure soit très nécessaire (un peu d'éducation des parents suffisent pour empêcher de le reproduire), surtout que bon ça rend la scène moins crédible :

Nani: "Tiens, je me demande où peut bien se cacher Lilo."
(voit une boîte à pizza suspicieusement placée à l'ouverture du meuble)
Nani: "Non, franchement je vois pas..."


Plus sérieusement, c'est pour ça que je garde précieusement mes DVD et Blu-Ray, car avec le numérique les diverses versions (et différents doublages !) risquent de disparaître peu à peu...
Certaines éditions DVD vont finir par devenir rares pour cette raison.

Je n'avais jusqu'ici jamais vu un seul épisode de la série TV "Lilo & Stitch". Tu vois pas que je tombe sur ça ?

Spoiler:

On en déduit donc que la correction anglaise rend désormais la série... incohérente avec le film. Remarque, Nani a très bien pu acheter un sèche-linge après coup. Mais vu que sa vie se résume à courir après l'argent, on a des doutes !

Oui enfin bon ils n'allaient pas non plus remplacer le lave-linge par le meuble dans tous les épisodes de la série version UK, juste à cause de la censure. ^^
Mais c'est déjà bien si cet élément est la seule incohérence dans la série par rapport au film, comparé au nombre d'incohérences qu'il y a dans La Petite Sirène, Hercule ou encore Timon et Pumbaa.

Princess Meg a écrit:

Oui enfin bon ils n'allaient pas non plus remplacer le lave-linge par le meuble dans tous les épisodes de la série version UK, juste à cause de la censure. ^^
Mais c'est déjà bien si cet élément est la seule incohérence dans la série par rapport au film, comparé au nombre d'incohérences qu'il y a dans La Petite Sirène, Hercule ou encore Timon et Pumbaa.

S'ils avaient effectivement remplacé le lave-linge par le meuble dans chaque épisode, ça aurait fait comme la bière Duff qui est floutée dans chaque épisode des Simpson.

quasimodoworld^^ a écrit:

Princess Meg a écrit:

Oui enfin bon ils n'allaient pas non plus remplacer le lave-linge par le meuble dans tous les épisodes de la série version UK, juste à cause de la censure. ^^
Mais c'est déjà bien si cet élément est la seule incohérence dans la série par rapport au film, comparé au nombre d'incohérences qu'il y a dans La Petite Sirène, Hercule ou encore Timon et Pumbaa.

S'ils avaient effectivement remplacé le lave-linge par le meuble dans chaque épisode, ça aurait fait comme la bière Duff qui est floutée dans chaque épisode des Simpson.

Sauf que flouter requiert quand même moins d'argent et de temps que de remplacer des backgrounds. ^^

Je remonte le topic avec ce medley des plus belles musiques du film

J'ai colorié Stich
Et donc j'ai eu envie de le revoir surtout quand Maman m'a dit ne jamais l'avoir vu. Elle qui aime Elvis Presley, je me suis dites qu'il fallait y remédier.

J'aime beaucoup la musique hawaïenne, le personnage de Lilo, qui se sent bien seule. Stich qui sort de l'univers Disney n'est pas facile à aborder au début mais il change et montre l'influence de l'amour sur un individu.

Bon je n'aime pas tout mais il y a des moments de tendresse qui me plaisent beaucoup.

Merci au hasard du coloriage et puis ça permet de remonter un sujet sur le forum...

Il est très beau ton coloriage

Pixie Tinkerbell a écrit:

Il est très beau ton coloriage

Une petite vidéo si vous souhaitez apprendre à danser comme Lilo  

J'aime beaucoup la musique hawaïenne.

Très beau coloriage Tinkerbell1979 ! Et merci pour le partage de la vidéo !

Ce n'est pas la première fois que je la vois et, à chaque fois, je me dis quel calme, quelle sérénité ! Elle a l'air de danser si facilement ! C'est très beau à regarder, au-delà d'être une vidéo d'apprentissage !

Tout chaud sur Chronique Disney, le site, retrouvez le portrait de la Présidente du Grand Conseil (lien en cliquant sur l'image) :

Lilo et Stitch a 20 ans déjà!  
Le 42e "Classique d'animation" de Disney Animation est sorti le 21 juin 2002 dans les salles américaines.



Le film avait bénéficié d'une promotion des plus originales, l'Expérience 626 s'incrustant dans les classiques Disney :

Je l'ai revu il y a pas longtemps en plus, la dernière fois remontait à une éternité. Et je ne me rappelais pas qu'il était si bad en vérité. Un très bon Disney à l'évidence.

Conversation avec les réalisateurs Chris Sanders et Dean DeBlois :


Article du site Cartoon Brew en lien avec la vidéo ci-dessus :

cartoonbrew.com a écrit:

‘Lilo & Stitch’ At 20: Directors Chris Sanders And Dean DeBlois Reunite (Video Interview)
By COLE DELANEY

Lilo & Stitch hit movie theaters 20 years ago this week with a mighty, extra-terrestrial growl. Although the budget was relatively small compared to other Disney animated features of the time, it was a roaring success at the box office and the Stitch character remains synonymous with the Disney brand to this day, filling shelves in stores around the world.

INBTWN Animation, the official online event partner of Cartoon Brew, caught up with the film’s two directors, Chris Sanders and Dean DeBlois, as they reminisced over the creation, development, production, and enduring legacy that the film has garnered.

Origins of an Alien
All the way back in the 1980s, Chris Sanders first created the original concept of the Stitch character. DeBlois explains that the initial idea was, “a creature with unknown origin that lived in some great northern forest and was ostracized by the forest community.”

When the duo later pitched the idea to Thomas Schumacher, then-president of feature animation at Disney, he gave them their first official note, explaining that “the forest community is already alien to us… what about taking this character and placing him in a world with humans.”

DeBlois, eventually assigned as the second director on the film, recalls, “The first thing Chris said to me was, ‘I’m really curious about whether or not we can pull off a story where we begin with the villain and we make him become a hero.’” Already they were thinking about challenging the established good-guy-bad-guy norms at Disney Animation. Both had just come off working in the story department for Mulan and were looking for a change of pace.

Downsizing
“Mulan involved really large-scale crowds of people, armies, and cities and stuff like that. And I had a great desire to do a smaller story,” says Sanders. “It’s like something a little more intimate and a little bit easier to deal with logistically… I was thinking, well, maybe I could set this in rural America somewhere.”

But, as Sanders continues, “I had been to Hawaii not that long before on a trip and I had a roadmap of Hawaii up on my wall. I was just staring at it, [and] slowly the connection was being made… maybe we could put it in Hawaii.” He initially hesitated thinking it might be too much fun, but eventually gave in and dove headfirst into the concept.

When they visited Hawaii, the core values of what they’d been developing came to life through Hawaiian culture.

DeBlois recalls, “Once you veer off the tourist trappings and paths, you find these beautiful little towns and this beautiful sense of larger family where everyone has a cousin, an aunt, an uncle. And the real Hawaii is so enchanting and weirdly romantic in kind of a grounded, living day-to-day way.”

In planning the story, they made sure to pay a great deal of respect to local customs and ensured they got all aspects of the culture correct. Sanders explains, “I’ve never seen a place where the continuity of culture from person to person is so well kept. And it’s one of the first things that Dean and I realized… If we were to embark on this journey, we had to be incredibly open and talk to people and listen and engage [with] as many people as we could that knew what they were doing.”

Lessons Learned
By the time their pitch got the greenlight, they already had a blueprint of how they wanted their production to run having just come from Mulan. As DeBlois remembers it, “Mulan was actually a pretty miserable experience.”

Both Mulan, and later Lilo & Stich, were among a small number of films animated at Walt Disney Animation Florida, a short-lived studio on the backlot of the Disney-MGM Studios theme park which was famous for overhead breezeways and large walls of windows that allowed tourists to see the animation process in action.

“In the end it was five years [on Mulan], but the Florida part of that… everything was [running] behind and I just remember those late nights,” says DeBlois. “[The studio] was butted up against a theme park so you’d hear the roller coasters and the people screaming and laughing and it’d be 10:30 at night, and we’re still storyboarding, and there’s somebody pushing a vacuum cleaner around in the hallways.”

To avoid a similar situation with Lilo & Stitch, they made it a goal that “no one is going to get a divorce because of this movie. No one’s gonna get sick because of this movie. No one’s gonna like become estranged from their family and friends because of this movie,” DeBlois recalls.

Better Budgeting
To that end, the directing duo decided to cut corners in ways that wouldn’t be obvious on screen. As DeBlois recalls, “We had to reduce line mileage you know; delete pockets off jean shorts or prints off t-shirts or reduce complexity wherever we had to in order to get there. We couldn’t afford shadows, so we put our characters under the shade of trees and things like that throughout the movie.”

Ultimately, scaling down the production resulted in “an entire crew of people – and I know about this because of Facebook and social media – [who say] that was their favorite moviemaking experience,” he says.

Sanders claims he never actually knew exactly how much the budget for the film was, but instead a producer would call them into the office and explain what sequence might push them over said budget.

“Those kinds of parameters are not a problem,” explains Sanders. “They actually, in some ways, help.”

As an example, he recalls “a scene in which Lilo was coming onto the shoreline. It was the introduction of her character, and it was the first time you were gonna see her. We proposed that she would come in on this wave and run down the beach past people doing all these different things. [Eventually though,] instead of showing all that animation, she comes onto the beach and you see one really quick, wide shot where all the characters are actually frozen. They’re not moving save for like one character that’s throwing a Frisbee, and then [we] immediately cut really close to Lilo and she’s running through lots of legs that are, again, not moving and you don’t notice anything weird.”

Cutting Room Floor
When asked if they would go back and change anything, the two joke about several scenes that regrettably had to be cut or changed for the movie.

In one scene that was chopped, Sanders remembers, “All these little girls come in to do the dialogue for Lilo’s friends. At one point… one of the girls says, ‘I bet you have rabies. Do you have rabies?’ And then another little girl, because she was so young… said, ‘If you have rabies, the dog catcher is gonna have to cut your head off.’ We had to take out the words, ‘Cut your head off.’”

Another change they chuckle about was a sequence in which Stitch put his hand in a blender. In the end, they happily changed that to the alien simply removing the lid from the blender. Sanders also recalls that they had to change a scene in which Lilo comes out of the tumble dryer, instead covering the action with a pizza box for the international release, which is the version currently available on Disney+.

Legacy
Summing up the experience of making Lilo & Stitch, DeBlois says, “We talk about it with such clear memories and with such fondness because the entire experience of making that movie was [one of] working with a small crew that were really excited and passionate about what they’re doing. But we would also hang out on the weekends, go kayaking, go down to the Florida Keys, and we’d go to the beaches and just travel around… The whole thing was like a big adventure… but it was mostly just fun and freedom.”

“That found its way into the movie,” he concludes. “The movie feels like a big sort of, I don’t know… like spending time with family. It just has that kind of warmth to it.”

Et un article du New York Times :

nytimes.com a écrit:

‘Lilo & Stitch’ at 20: How It Broke the Mold Long Before ‘Moana’

The animated fan favorite, released 20 years ago this week, featured nuanced depictions of Hawaii and strong female characters.


By Sarah Bahr
June 21, 2022

When the director Chris Sanders was starting work on “Lilo & Stitch,” the film’s visual development supervisor, Sue Nichols, made a comparison that startled him.

“She did a side-by-side drawing of Mulan next to Nani,” Sanders said, referring to Lilo’s older sister. “And she pointed out that Mulan is actually missing pieces of her anatomy, if you look at how tall her torso is.”

Sanders, who wrote and directed “Lilo & Stitch” with Dean DeBlois, opted for a fuller-figured animation style for the movie, a comedy adventure that has garnered praise from critics and fans for its realistic body types, cultural accuracy and misunderstood protagonist in the two decades since its release on June 21, 2002.

The film tells the story of a young Hawaiian girl named Lilo whose life is upended when an alien fugitive, Stitch, crash-lands nearby. The film laid the groundwork for trends in recent Disney films like the lack of a major love story and a more downbeat protagonist.

“When we turned the clocks from the 1990s to the 2000s, everybody thought the world was going to come to an end,” said Shearon Roberts, the editor of the book “Recasting the Disney Princess in an Era of New Media and Social Movements” and an associate professor of mass communication at Xavier University in New Orleans. “So all the content they were creating was less the fairy tales we saw in the ’80s and ’90s and more this exploration of unknowns.”

Sanders had initially conceived the story as a children’s book, but he retooled the pitch for the big screen. It was an underdog from the start.

After a string of high-profile but expensive 1990s and early 2000s releases like “Atlantis” and “Tarzan” that cost $120 million or more, the “Lilo” producers aimed to make a smaller film for $80 million. DeBlois and Sanders, who’d worked together in the story department on the 1998 “Mulan,” reunited to co-direct and co-write. Daveigh Chase, a preteen who was already a veteran actress, voiced Lilo. But for Stitch, they went with Sanders.

“We didn’t want to go to a real actor like Danny DeVito, and then have the studio coming to us saying, ‘Why did you hire someone who’s a known entity, but they only say like 15 words?’” Sanders said.

“I love that that’s the way he remembers it,” said Clark Spencer, who produced the film and is now president of Walt Disney Animation Studios. “But this was Chris’s character from Day 1. He did the design; he knew what he wanted the character to be, the voice to sound like. I can’t imagine anyone but Chris’s voice for Stitch.”

Initially the story was going to take place in rural Kansas, but after an island vacation, Sanders decided to set the film in another remote location: Kauai, Hawaii.

He, DeBlois and other members of the creative team took another trip — together, this time — to Kauai, talking to locals and familiarizing themselves with Hawaiian culture.

“One thing we learned from working on ‘Mulan’ is that when you’re setting a story in a specific place in the real world, there are places you can’t go,” DeBlois said. “There are some cultural elements you can’t use because you’re an outsider.”

So they enlisted the Hawaiian musician Mark Keali’i Ho’omalu to consult on the hula dancing and choral arrangements, and cast members raised in Hawaii — Tia Carrere, who voiced Nani, and Jason Scott Lee, who played her boyfriend — suggested edits to better reflect the colloquial dialect of Kauai.

The production did not take steps that “Moana” would, like hiring a Hawaiian writing and directing team, though Roberts, the Xavier University scholar, said its more realistic depiction of Hawaii was a start.

“Disney has really struggled to tell Asian-Pacific stories,” she said. “That’s why they spent so much time putting together a brain trust around ‘Moana,’ a film that had a far better reception, from the casting to making sure that certain parts of the story arch didn’t border on stereotype. So there would be a few more lessons about bringing people to the table to support their writing team.”

“Lilo & Stitch” did touch on real-world issues that young audience members might relate to: Nani, forced to become Lilo’s legal guardian after their parents are killed in a car crash, faces parenting struggles. And a social worker always seems to catch Nani and Lilo at their worst.

Still, the filmmakers received negative feedback at the first screening, Sanders said: Viewers didn’t like that Nani grabbed Lilo by the wrist in a scene because they mistakenly believed Nani was Lilo’s mother.

The filmmakers clarified that with a Howard Ashman trick. “He said, ‘If you want the audience to remember something, you have to say it three times, one after the other,’” Spencer said. “So we redid the scene,” making sure that Lilo and Nani mention they’re sisters three times in a row.

But the team wouldn’t edit the film in response to another complaint, Spencer said: Audiences didn’t like how much Nani and Lilo yelled at each other.

“Chris, Dean and I would say, ‘But that’s real,’” Spencer said. “This is a moment when Nani is feeling pressure, when Lilo is feeling out of place and trying to figure out who she is.”

The filmmakers also prioritized realism in another area: A more realistic depiction of female bodies. Lilo is short and chubby, and Nani has thick thighs and what Sanders called “a real pelvis.”

Roberts, the scholar, said the film was a notable departure from typical Disney fare. “The decade before, the princesses had fully developed adult women’s bodies,” she said. “But we allow Lilo to still be childlike. Her face is very innocent. We have a body that’s not a size 0 — we have girlhood fully embodied in our dimensions.”

Lilo is allowed to be a child personality-wise, too: “One of the tropes in these movies is that kids are always smarter, better, more tuned in than the adults, who are played as buffoons,” Sanders said. “But we didn’t do that. Lilo bites a little girl, she throws a fit and she says things that are just nonsensical. She’s acting like an actual kid.”

Lilo, Roberts said, was the rare female Disney animated lead without a love interest (unless you count her passion for Elvis). In choosing to focus instead on Lilo and Nani’s sisterhood, the studio finally accomplished the reversal of an archetype that had been established as far back as “Snow White and the Seven Dwarfs,” she added.

Disney had been “slowly picking away at the ‘Some day my prince will come’ message in the ’90s,” she said, adding that the earlier films like “Beauty and the Beast,” “Aladdin” and “Mulan” proved to Disney that a film with a female lead as strong as her male love interest could make money. “So Lilo then takes that one step forward by eliminating the male love interest.”

Janet Wasko, the author of “Understanding Disney: The Manufacture of Fantasy,” noted that by focusing on a female lead sans a romance or marriage plot, “Lilo & Stitch” prefigured future female Disney stars like Moana, Merida from “Brave” and Riley from “Inside Out.”

“Lilo & Stitch” proved to be a critical and commercial success, opening just $500,000 behind the Tom Cruise sci-fi thriller “Minority Report” and eventually earning $273 million globally. (It also picked up an Oscar nomination for best animated feature but lost to “Spirited Away” from Hayao Miyazaki.) “Lilo” spawned a franchise that would encompass three direct-to-video sequels and three television series, as well as a number of theme park rides. There’s even a live-action remake in development.

“It’s one of the films where when people say, ‘What have you worked on?’ you literally feel a change when you say ‘Lilo & Stitch,’” Spencer said.

Fans have repeatedly told him how they can relate — to Lilo’s frustration over feeling misunderstood, to Nani’s determination in spite of a world that continually thwarts her good intentions, even to Stitch’s rebellious nature.

“When the film came out, that’s what a lot of critics talked about,” he said. “Those moments that were based in reality in a way that people could see themselves in, and it didn’t feel like they were cartoon characters.”

For his part, Sanders wishes more people would notice how the relationship between the two sisters anticipates “Frozen” by more than a decade.

“To be clear, I think ‘Frozen’s’ great,” he said. “But it was a little bit frustrating for me because people were like, ‘Finally, a nonromantic relationship with these two girls,’ and I thought, ‘We did that! That has absolutely been done before.’”


A version of this article appears in print on June 22, 2022, Section C, Page 3 of the New York edition with the headline: ‘Lilo & Stitch’ at 20: Disney Mold Breaker

Lilo & Stitch a marqué toute une génération et plus ! Je l'ai revu il n'y a pas longtemps, ainsi que les suites et la série. Une bonne dose d'humour, une histoire charmante, des personnages aussi décalés que sérieux, des danses et des musiques qui font voyager... C'est un excellent Disney à mes yeux et qui vieillit plutôt bien. Par contre, me dire qu'il a 20 ans déjà, ça pique

Lilo et Stitch ressortiras en blu-ray aux US le 18 octobre prochain. En attendant, ce blu-ray est disponible chez DMC depuis le 9 août dernier avant sa sortie en magasin.



Bernard et Bianca et Un Empereur nouveau Genre (Kuzco) sont également prévus cette journée et ils sont disponible depuis juin avant sa sortie en magasin. Notez que le blu-ray de Lilo et Stitch est un tout nouveau blu-ray, alors que les deux autres sont les mêmes que les anciennes éditions où ils ont juste changés les bandes annonces. Notons que sur les DVD inclus avec le blu-ray, pour les trois films et leurs suites, ce sont des tout nouveaux DVD, y compris Bernard et Bianca (car le 1er film inclus désormais la chanson supprimée, qui était autrefois exclusif au blu-ray dans l'édition de 2012).