[Michel Ocelot] had first envisioned Kirikù e la strega Karabà (1998) as a silhouette animation (the medium he had been working in since 1988's Ciné si (1989)) and wrote the initial version of the screenplay with this manner of presentation in mind. Karaba's "breast jewelry" emerged during this phase as a device to prevent her having the appearance of having only one breast when her torso was turned to a three-quarter view but was retained despite the changeover to full color.

Film

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