The sets of the film are composed of reworked photographs of real Parisian places. Michel Ocelot has been tracking for 4 years during which he took pictures of the capital very early to have an almost empty city, which allowed to limit the number of items that needed to disappear later from the photo.
In this film, we find the artistic touch of his work Azur and Asmar with however a new artistic effect that consists of embedding photos in the animation. So we find clichés of monuments and Parisian atmospheres integrated into the decorations.
Michel Ocelot had access, to his great surprise, to private buildings, museums and public places. He was able to visit the Sewers of Paris, the Orsay Museum, the Museum of the School of Nancy, the Carnavalet Museum, the Rodin Museums, the Quai Branly Museum, the Marmottan-Monet Museum and the Opera House.
Dilili in Paris comes from the same imagination of the late nineteenth and early twentieth century that has nourished the works of Jules Verne and Romanesque soap operas like The Mysteries of Paris by Eugene Sue.
The script contains many allusions to celebrities, but also to the everyday realities of Belle Époque Paris.
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