Dean DeBlois, who had co-written Mulan (1998) with Sanders, was brought on to co-write and co-direct Lilo & Stitch, while Disney executive Clark Spencer was assigned to produce. Unlike several previous and concurrent Disney Feature Animation productions, the Lilo & Stitch pre-production team remained relatively small and isolated from upper management until the film went into full production.[4] The character and set designs were based upon Chris Sanders' personal artistic style.[2]
While the animation team visited Kauaʻi to research the locale, their tour guide explained the meaning of ʻohana as it applies to extended families. This concept of ʻohana became an important part of the movie. DeBlois recalls:
“ 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 ʻohana, 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. ”
The island of Kauaʻi had previously been featured in such films as Raiders of the Lost Ark and those from the Jurassic Park trilogy. The Disney animators faced the daunting task of meshing the film's plot, which showed the impoverished and dysfunctional life that many Hawaiians lived during the then-recent economic downturn, with the island's serene beauty. The actors voicing the film's young adults Nani and David, Tia Carrere, a native of Honolulu, and Jason Scott Lee, who was raised in Hawaii, assisted with rewriting the Hawaiian characters' dialogue in the proper colloquial dialect and adding Hawaiian slang.
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.[5]:13
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