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WALL-E

October 12, 2023

For other uses, see WALL-E (disambiguation).

WALL-E is a 2008 American computer-animated science fiction romance film[5] produced by Pixar Animation Studios and released by Walt Disney Pictures. The film was directed by Andrew Stanton, produced by Jim Morris, and written by Stanton and Jim Reardon. It stars the voices of Ben Burtt, Elissa Knight, Jeff Garlin, John Ratzenberger, Kathy Najimy, with Sigourney Weaver and Fred Willard. The film follows a solitary robot named WALL-E on a future, uninhabitable, deserted Earth in 2805, left to clean up garbage. He is visited by a robot called EVE sent from the starship Axiom, with whom he falls in love and pursues across the galaxy.

WALL•E
Theatrical release poster
Directed byAndrew Stanton
Screenplay by
Story by
Produced byJim Morris
Starring
Cinematography
Edited byStephen Schaffer
Music byThomas Newman
Production
companies
Distributed byWalt Disney Studios
Motion Pictures
Release dates
  • June 23, 2008 (2008-06-23) (Greek Theatre)
  • June 27, 2008 (2008-06-27) (United States)
Running time
98 minutes[1]
CountryUnited States
LanguageEnglish
Budget$180 million[2]
Box office$532.5 million[3][4]

After directing Finding Nemo, Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space. WALL-E has minimal dialogue in its early sequences; many of the characters in the film do not have voices, but instead communicate with body language and robotic sounds that were designed by Burtt. The film incorporates various topics including consumerism, corporatocracy, nostalgia, waste management, human environmental impact and concerns, obesity/sedentary lifestyles, and global catastrophic risk.[6] It is also Pixar's first animated film with segments featuring live-action characters. Thomas Newman composed the film's musical score. The film cost $180 million to produce, a record-breaking sum for an animated film at the time. Following Pixar tradition, WALL-E was paired with a short film titled Presto for its theatrical release.

WALL-E was released in the United States on June 27, 2008. The film received critical acclaim for its animation, story, voice acting, characters, visuals, score, sound design, screenplay, use of minimal dialogue, and scenes of romance.[7][8] It was also commercially successful, grossing $521.3 million worldwide and becoming the ninth-highest grossing film of 2008. It won the 2008 Golden Globe Award for Best Animated Feature Film, the 2009 Hugo Award for Best Long Form Dramatic Presentation,[9] the final Nebula Award for Best Script,[10] the Saturn Award for Best Animated Film and the Academy Award for Best Animated Feature with five additional Oscar nominations. The film was widely named by critics and organizations, including the National Board of Review and American Film Institute, as one of the best films of 2008,[11][12] and to be considered among the greatest animated films ever made.[13][14][15]

In 2021, WALL-E became the second Pixar feature film (after Toy Story) to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16] In September 2022, at the request of Stanton, Disney licensed WALL-E to The Criterion Collection, who re-released the film as a special edition 4K Blu-Ray-standard Blu-ray combo pack on November 22, 2022, marking the first Pixar film to ever receive such an honor.[17][18]

Plot Edit

In the 29th century, Earth is a garbage-strewn wasteland due to an ecocide, caused by rampant consumerism, corporate greed, and environmental neglect.[19]

Humanity is nowhere to be seen, having been evacuated by the megacorporation Buy n Large (BnL) to space on giant starliners, leaving trash compacting robots to clean up the planet, seven hundred years prior. The cleanup has failed and the last remaining active robot, named Waste Allocation Load Lifter: Earth Class (WALL·E) has developed a personality. WALL·E remains active by salvaging parts from other inactive robots and lives with his pet cockroach as his only companion in a large truck designed to carry the robots.

One day, WALL·E's routine of compressing trash and collecting interesting objects is broken by the arrival of an unmanned probe carrying an egg-shaped robot named Extraterrestrial Vegetation Evaluator (EVE) which is sent to scan the planet for signs of sustainable life. WALL·E is smitten by the sleek, otherworldly robot, and the two begin to connect, until EVE goes into standby mode when WALL·E shows her his most recent find: a living seedling. The probe ship eventually returns and collects EVE and the plant, with WALL·E clinging on. The probe ship then returns to its mothership, the starliner Axiom.

In the centuries since the Axiom left Earth, its passengers have degenerated into helpless obesity due to microgravity and laziness, with robots catering to their every whim. Even Captain B. McCrea is used to sitting back while his robotic AI autopilot helm, nicknamed AUTO, pilots the ship. McCrea is unprepared to receive the positive probe response, but discovers that placing the plant in the ship's Holo-Detector will trigger a hyperjump back to Earth so that humanity can begin recolonization. When McCrea inspects EVE's storage compartment, the plant is missing, with EVE blaming WALL·E for its disappearance.

EVE is deemed faulty and taken to diagnostics. Mistaking the process for torture, WALL·E intervenes and inadvertently releases all the other faulty bots, causing him and EVE to be designated as rogues. Frustrated, EVE tries to send WALL·E home in an escape pod, but before she can, the two witness a small robot, GO-4, stowing the plant in a pod set to self-destruct, revealing that WALL·E did not steal the plant. WALL·E tries retrieving it, but is launched into space. EVE uses an emergency exit to chase after WALL·E, and witnesses the pod explode, although both he and the plant survive unscathed. He and EVE reconcile, celebrating with a dance in space around the Axiom.

EVE brings the plant back to McCrea, who watches her recordings of Earth, concluding that they can and must save it. However, AUTO reveals that it has been programmed with the secret no-return directive A113 issued after BnL CEO Shelby Forthright inaccurately believed Earth could not be saved; GO-4 attempted to dispose of the plant on AUTO's instruction to make EVE seem faulty. When McCrea countermands the directive, AUTO and GO-4 mutiny, electrocuting WALL·E, forcefully putting EVE into standby, throwing them both down a garbage chute and locking McCrea in his quarters. EVE (having been reactivated by a mouse-like robot) and WALL·E are nearly ejected into space with the ship's refuse, but Microbe Obliterator (M-O), a cleaning robot who had been following WALL·E's dirt trail across the ship, saves the two when he gets stuck when the gate closes, prompting the Waste Allocation Load Lifter: Axiom Class (WALL·A) garbage bots to abort the ejection. As humans and robots help in securing the plant, McCrea and AUTO fight for control of the Axiom. AUTO crushes WALL·E using the Holo-Detector in a last-ditch attempt to keep the human passengers in space; McCrea eventually overpowers and deactivates AUTO by switching it to manual mode, and EVE successfully inserts the plant, initiating the hyperjump.

Arriving back on Earth, EVE quickly repairs WALL·E, but finds that his memory and personality have been erased. Heartbroken, EVE gives WALL·E a goodbye "kiss", which restores him to his normal self. WALL-E and EVE reunite as the Axiom inhabitants take their first steps on Earth. During the credits, humans and robots turn the ravaged planet into a paradise, and the plant grows into a mighty tree, which EVE and WALL·E rest beneath.

Cast Edit

Voice cast Edit

  • Ben Burtt as WALL·E (Waste Allocation Load Lifter: Earth-Class),[20] a compactor robot who has achieved sentience, he is the only one still functioning on Earth. He is a small mobile compactor box accompanied by his cockroach friend Hal. He collects trinkets from the garbage and displays them at his home, where he watches a video cassette of 20th Century Studios' Hello, Dolly!, mimicking the dance sequences.
    • Burtt also voices M-O (Microbe-Obliterator), a cleaning robot.
  • Elissa Knight as EVE (Extraterrestrial Vegetation Evaluator),[20] a glossy white egg-shaped probe robot with blue LED eyes, whose directive is to verify the habitability of planets for humans. She moves using antigravity and is equipped with scanners, specimen storage, and a cannon which she is quick to use.
  • Jeff Garlin as Captain B. McCrea, the captain of the Axiom.
  • MacInTalk, the text-to-speech program for Apple Macintosh computers, is the voice of AUTO (pronounced Otto), the Axiom's villainous AI autopilot which handles command functions of the ship. Loyal only to directive A113, it is the only computer not influenced by WALL-E.
  • John Ratzenberger and Kathy Najimy as John and Mary, who live on the Axiom, so dependent on their automatic services as to be oblivious to their surroundings. They are brought out of their trances by encounters with WALL-E and fall in love with each other.
  • Sigourney Weaver as the Axiom's computer. Stanton joked to Weaver: "You realize you get to be 'Mother' now?"[21][22] referring to the ship's computer in the film Alien, starring Weaver.[22]

Live-action cast Edit

  • Fred Willard as Shelby Forthright, owner of the Buy n Large Corporation and President of Earth. The only major live-action character, appearing only in videos recorded around the time of the Axiom's launch in the 22nd century. Forthright proposed the plan to evacuate Earth's population and then clean up the planet so they could return within five years. Discovering that Earth had become too toxic to support life, the cleanup and recolonization were abandoned. Forthright issued directive A113 preventing anyone from returning to Earth. As of 2023, Forthright is the only live-action character with a speaking role in any Pixar film.
  • Michael Crawford and Marianne McAndrew appear in an archival recording performing "It Only Takes a Moment" from Hello, Dolly!.

Production Edit

Writing Edit

BACK ON M-O AND WALLY [sic]

M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can't resist.

M-O (bleeps):
[Look, it stays clean. You got that?]

Wally wipes the bottom of his tread on M-O's face.
M-O loses it.
Scrubs his own face.

—Stanton wrote the screenplay to focus on the visuals
and as a guide to what the sound effects needed to convey[23]

Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story was near completion and the writers brainstormed ideas for their next projects—A Bug's Life, Monsters, Inc., and Finding Nemo—at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"[21] Having struggled for many years with making the characters in Toy Story appealing, Stanton found his simple Robinson Crusoe-esque idea of a lonely robot on a deserted planet strong.[24][25] Stanton made WALL·E a waste collector as the idea was instantly understandable, and because it was a low-status menial job that made him sympathetic.[26] Stanton also liked the imagery of stacked cubes of garbage.[27] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.[28]

Stanton and Docter developed the film under the title of Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monsters, Inc. instead.[29][30] Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.[31] Before they turned their attention to other projects, Stanton and Lasseter thought about having WALL-E fall in love, as it was the necessary progression away from loneliness.[28] Stanton started writing WALL-E again in 2002 while completing Finding Nemo.[32] Stanton formatted his script in a manner reminiscent of Dan O'Bannon's Alien. O'Bannon wrote his script in a manner Stanton found reminded him of haiku, where visual descriptions were done in continuous lines of a few words. Stanton wrote his robot "dialogue" conventionally, but placed them in brackets.[25] In late 2003, Stanton and a few others created a story reel of the first twenty minutes of the film. Lasseter and Steve Jobs were impressed and officially began development,[33] though Jobs stated he did not like the title, originally spelled "W.A.L.-E."[34]

While the first act of WALL-E "fell out of the sky" for Stanton,[28] he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was different. When WALL-E comes to the Axiom, he incites a Spartacus-style rebellion by the robots against the remnants of the human race, which were cruel alien Gels (completely devolved, gelatinous, boneless, legless, see-through, green creatures that resemble Jell-O). James Hicks, a physiologist, mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period.[21][35][36] Therefore, this was the inspiration of the humans degenerating into the alien Gels,[37] and their ancestry would have been revealed in a Planet of the Apes-style ending.[38] The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.[39] The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and the Axiom curled up into a ball when returning to Earth in this incarnation of the story.[39] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".[38] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",[38][40] wanting WALL-E and EVE's relationship to inspire humanity because he felt few films explore how utopian societies come to exist.[41] The process of depicting the descendants of humanity as the way they appear in the movie was slow. Stanton first decided to put a nose and ears on the Gels so the audience could recognize them. Eventually, fingers, legs, clothes, and other characteristics were added until they arrived at the concept of being fetus-like to allow the audience to see themselves in the characters.[39]

In a later version of the film, AUTO comes to the docking bay to retrieve EVE's plant. The film would have its first cutaway to the captain, but Stanton moved that as he found it too early to begin moving away from WALL·E's point-of-view. As an homage to Get Smart,[42] AUTO takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large's scheme to clean up the Earth falling apart through the years. Stanton removed this to keep some mystery as to why the plant is taken from EVE. The captain appears to be unintelligent, but Stanton wanted him to just be unchallenged; otherwise he would have not been sympathetic.[37] One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside-down, only to fix it before he challenges AUTO. In the finished film, he merely wears it casually atop his head, tightening it when he really takes command of the Axiom.[39]

Stanton also moved the moment where WALL-E reveals his plant (which he had snatched from the self-destructing escape pod) from producing it from a closet to immediately after his escape, as it made EVE happier and gave them stronger motivation to dance around the ship. Originally, EVE would have been electrocuted by AUTO, and then be quickly saved from ejection at the hands of the Waste Allocation Load Lifter: Axiom-class (WALL·A) robots, by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 test screening, as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL-E, and it made WALL-E even more heroic if he held the holo-detector open despite being badly hurt.[37] The idea of WALL-E losing his memory and personality came after the braintrust team abandoned a scene where EVE had been shot in her heart battery and WALL-E gave her his own battery instead.[43] Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end. Jim Capobianco, director of the Ratatouille short film Your Friend the Rat, created an end credits animation that continued the story—and stylized in different artistic movements throughout history—to clarify an optimistic tone.[44]

Design Edit

WALL-E was the most complex Pixar production since Monsters, Inc. because of the world and the history that had to be conveyed.[24] Whereas most Pixar films have up to 75,000 storyboards, WALL-E required 125,000.[45] Production designer Ralph Eggleston wanted the lighting of the first act on Earth to be romantic, and that of the second act on the Axiom to be cold and sterile. During the third act, the romantic lighting is slowly introduced into the Axiom environment.[21] Pixar studied Chernobyl and the city of Sofia to create the ruined world; art director Anthony Christov was from Bulgaria and recalled Sofia used to have problems storing its garbage.[46][47] Eggleston bleached out the whites on Earth to make WALL-E feel vulnerable. The overexposed light makes the location look more vast. Because of the haziness, the cubes making up the towers of garbage had to be large, otherwise they would have lost shape (in turn, this helped save rendering time). The dull tans of Earth subtly become soft pinks and blues when EVE arrives. When WALL-E shows EVE all his collected items, all the lights he has collected light up to give an inviting atmosphere, like a Christmas tree. Eggleston tried to avoid the colors yellow and green so WALL-E—who was made yellow to emulate a tractor—would not blend into the deserted Earth, and to make the plant more prominent.[48]

 
WALL·E finds a bra. Roger Deakins and Dennis Muren were consulted on realistic lighting including backgrounds that are less focused than foregrounds.

Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth. He thought that Pixar captured the physics of being underwater with Finding Nemo and so for WALL·E, he wanted to push that for air. While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of 70 mm film and its barrel distortion, lens flare, and racking focus.[24] Producer Jim Morris invited Roger Deakins and Dennis Muren to advise on lighting and atmosphere. Muren spent several months with Pixar, while Deakins hosted one talk and was requested to stay on for another two weeks. Stanton said Muren's experience came from integrating computer animation into live-action settings, while Deakins helped them understand not to overly complicate their camerawork and lighting.[41] 1970s Panavision cameras were used to help the animators understand and replicate handheld imperfections like unfocused backgrounds in digital environments.[21] The first lighting test included building a three-dimensional replica of WALL-E, filming it with a 70 mm camera, and then trying to replicate that in the computer.[49] Stanton cited the shallow lens work of Gus Van Sant's films as an influence, as it created intimacy in each close-up. Stanton chose angles for the virtual cameras that a live-action filmmaker would choose if filming on a set.[28]

Stanton wanted the Axiom's interior to resemble Shanghai and Dubai.[24] Eggleston studied 1960s NASA paintings and the original concept art for Tomorrowland for the Axiom, to reflect that era's sense of optimism.[21] Stanton remarked "We are all probably very similar in our backgrounds here [at Pixar] in that we all miss the Tomorrowland that was promised us from the heyday of Disneyland," and wanted a "jet pack" feel.[24] Pixar also studied the Disney Cruise Line and visited Las Vegas, which was helpful in understanding artificial lighting.[21] Eggleston based his Axiom designs on the futuristic architecture of Santiago Calatrava. Eggleston divided the inside of the ship into three sections; the rear's economy class has a basic gray concrete texture with graphics keeping to the red, blue, and white of the BnL logo. The coach class with living/shopping spaces has "S" shapes as people are always looking for "what's around the corner". Stanton intended to have many colorful signs, but he realized this would overwhelm the audience and went with Eggleston's original idea of a small number of larger signs. The premier class is a large Zen-like spa with colors limited to turquoise, cream, and tan, and leads on to the captain's warm carpeted and wooded quarters and the sleek dark bridge.[48] In keeping with the artificial Axiom, camera movements were modeled after those of the steadicam.[50]

The use of live action was a stepping stone for Pixar, as Stanton was planning to make John Carter of Mars his next project.[24] Storyboarder Derek Thompson noted introducing live action meant that they would make the rest of the film look even more realistic.[51] Eggleston added that if the historical humans had been animated and slightly caricaturized, the audience then would not have been able to recognize how serious their devolution was.[48] Stanton cast Fred Willard as the historical Buy n Large CEO because "[h]e's the most friendly and insincere car salesman I could think of."[38] The CEO says "stay the course", which Stanton used because he thought it was funny.[52] Industrial Light & Magic did the visual effects for these shots.[21]

Animation Edit

WALL·E went undeveloped during the 1990s partly because Stanton and Pixar were not confident enough yet to have a feature-length film with a main character that behaved like Luxo Jr., the Pixar lamp or R2-D2.[25] Stanton explained there are two types of robots in cinema: "human[s] with metal skin", like the Tin Man, or "machine[s] with function" like Luxo and R2. He found the latter idea "powerful" because it allowed the audience to project personalities onto the characters, as they do with babies and pets: "You're compelled ... you almost can't stop yourself from finishing the sentence 'Oh, I think it likes me! I think it's hungry! I think it wants to go for a walk!'"[53] He added, "We wanted the audience to believe they were witnessing a machine that has come to life."[21] The animators visited recycling stations to study machinery, and also met robot designers, visited NASA's Jet Propulsion Laboratory to study robots, watched a recording of a Mars rover,[32] and borrowed a bomb detecting robot from the San Francisco Police Department. Simplicity was preferred in their performances as giving them too many movements would make them feel human.[21]

Stanton wanted WALL·E to be a box and EVE to be like an egg.[54] WALL·E's eyes were inspired by a pair of binoculars Stanton was given when watching the Oakland Athletics play against the Boston Red Sox. He "missed the entire inning" because he was distracted by them.[55] The director was reminded of Buster Keaton and decided the robot would not need a nose or mouth.[56] Stanton added a zoom lens to make WALL-E more sympathetic.[56] Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality.[48] Pixar's studies of trash compactors during their visits to recycling stations inspired his body.[21] His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.[54] The animators wanted him to have elbows, but realized this was unrealistic because he is only designed to pull garbage into his body.[21] His arms also looked flimsy when they did a test of him waving.[54] Animation director Angus MacLane suggested they attach his arms to a track on the sides of his body to move them around, based on the inkjet printers his father designed. This arm design contributed to creating the character's posture, so if they wanted him to be nervous, they would lower them.[57] Stanton was unaware of the similarities between WALL-E and Johnny 5 from Short Circuit until others pointed it out to him.[25]

Stanton wanted EVE to be at the higher end of technology, and asked iPod designer Jonathan Ive to inspect her design. He was very impressed.[24] Her eyes are modelled on Lite-Brite toys,[56] but Pixar chose not to make them overly expressive as it would be too easy to have her eyes turn into hearts to express love or something similar.[54] Her limited design meant the animators had to treat her like a drawing, relying on posing her body to express emotion.[21] They also found her similar to a manatee or a narwhal because her floating body resembled an underwater creature.[54] Auto was a conscious homage to HAL 9000 from 2001: A Space Odyssey,[25] and the usage of Also sprach Zarathustra for the showdown between Captain McCrea and Auto furthers that.[58] The manner in which he hangs from a wall or ceiling gives him a threatening feel, like a spider.[59] Originally, Auto was designed entirely differently, resembling EVE, but masculine and authoritative and SECUR-T was also a more aggressive patrol steward robot.[37] The majority of the robot cast were formed with the Build-a-bot program, where different heads, arms and treads were combined in over a hundred variations.[21] The humans were modelled on sea lions due to their blubbery bodies,[48] as well as babies. The filmmakers noticed baby fat is a lot tighter than adult fat and copied that texture for the film's humans.[60]

To animate their robots, the film's story crew and animation crew watched a Keaton and a Charlie Chaplin film every day for almost a year, and occasionally a Harold Lloyd picture.[25] Afterwards, the filmmakers knew all emotions could be conveyed silently. Stanton cited Keaton's "great stone face" as giving them perseverance in animating a character with an unchanging expression.[56] As he rewatched these, Stanton felt that filmmakers—since the advent of sound—relied on dialogue too much to convey exposition.[25] The filmmakers dubbed the cockroach WALL-E keeps as a pet "Hal", in reference to silent film producer Hal Roach (as well as being an additional reference to HAL 9000).[21] They also watched 2001: A Space Odyssey, The Black Stallion and Never Cry Wolf, films that had sound but were not reliant on dialogue.[51] Stanton acknowledged Silent Running as an influence because its silent robots were a forerunner to the likes of R2-D2,[41] and that the "hopeless romantic" Woody Allen also inspired WALL-E.[29]

Sound Edit

Producer Jim Morris recommended Ben Burtt as sound designer for WALL-E because Stanton kept using R2-D2 as the benchmark for the robots.[42] Burtt had completed Star Wars: Episode III – Revenge of the Sith and told his wife he would no longer work on films with robots, but found WALL-E and its substitution of voices with sound "fresh and exciting".[21] He recorded 2,500 sounds for the film, which was twice the average number for a Star Wars film,[32] and a record in his career.[21] Burtt began work in 2005,[61] and experimented with filtering his voice for two years.[62] Burtt described the robot voices as "like a toddler ... universal language of intonation. 'Oh', 'Hm?', 'Huh!', you know?"[63]

During production Burtt had the opportunity to look at the items used by Jimmy MacDonald, Disney's in-house sound designer for many of their classic films. Burtt used many of MacDonald's items on WALL-E. Because Burtt was not simply adding sound effects in post-production, the animators were always evaluating his new creations and ideas, which Burtt found an unusual experience.[64] He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas.[21] Burtt would choose scientifically accurate sounds for each character, but if he could not find one that worked, he would choose a dramatic and unrealistic noise.[64] Burtt would find hundreds of sounds by looking at concept art of characters, before he and Stanton pared it down to a distinct few for each robot.[24]

Burtt saw a hand-cranked electrical generator while watching Island in the Sky, and bought an identical, unpacked device from 1950 on eBay to use for WALL·E moving around.[65] Burtt also used an automobile self-starter for when WALL·E goes fast,[64] and the sound of cars being wrecked at a demolition derby provided for WALL·E's compressing trash in his body.[66] The Macintosh computer chime was used to signify when WALL-E has fully recharged his battery. For EVE, Burtt wanted her humming to have a musical quality.[64] Burtt was only able to provide neutral or masculine voices, so Pixar employee Elissa Knight was asked to provide her voice for Burtt to electronically modify. Stanton deemed the sound effect good enough to properly cast her in the role.[52] Burtt recorded a flying 10-foot-long (3.0 m) radio-controlled jet plane for EVE's flying,[21] and for her plasma cannon, Burtt hit a slinky hung from a ladder with a timpani stick. He described it as a "cousin" to the blaster noise from Star Wars.[67]

MacInTalk was used because Stanton "wanted Auto to be the epitome of a robot, cold, zeros & ones, calculating, and soulless [and] Stephen Hawking's kind of voice I thought was perfect."[41] Additional sounds for the character were meant to give him a clockwork feel, to show he is always thinking and calculating.[64]

Burtt had visited Niagara Falls in 1987 and used his recordings from his trip for the sounds of wind,[66] and ran around a hall with a canvas bag up to record the sandstorm.[21] For the scene where WALL-E flees from falling shopping carts, Burtt and his daughter went to a supermarket and placed a recorder in their cart. They crashed it around the parking lot and then let it tumble down a hill.[68] To create Hal (WALL-E's pet cockroach)'s skittering, he recorded the clicking caused by taking apart and reassembling handcuffs.[21]

Music Edit

See also: WALL-E (soundtrack)

Thomas Newman recollaborated with Stanton on WALL-E since the two got along well on Finding Nemo, which gave Newman the Annie Award for Best Music in an Animated Feature. He began writing the score in 2005, in the hope that starting this task early would make him more involved with the finished film. But, Newman remarked that animation is so dependent on scheduling he should have begun work earlier on when Stanton and Reardon were writing the script. EVE's theme was arranged for the first time in October 2007. Her theme when played as she first flies around Earth originally used more orchestral elements, and Newman was encouraged to make it sound more feminine.[69] Newman said Stanton had thought up many ideas for how he wanted the music to sound, and he generally followed them as he found scoring a partially silent film difficult. Stanton wanted the whole score to be orchestral, but Newman felt limited by this idea especially in scenes aboard the Axiom, and used electronics too.[70]

 
A live-action clip of the song "It Only Takes a Moment" from Hello, Dolly!, which inspires WALL-E to hold hands with EVE

Stanton originally wanted to juxtapose the opening shots of space with 1930s French swing music, but changed his mind after seeing The Triplets of Belleville (2003), not wanting to appear as if he were copying it.[71] Stanton then thought about the song "Put On Your Sunday Clothes" from Hello, Dolly!, since he had portrayed the sidekick Barnaby Tucker in a 1980 high school production.[72] Stanton found that the song was about two naive young men looking for love, which was similar to WALL-E's own hope for companionship. Jim Reardon, storyboard supervisor for the film, suggested WALL-E find the film on video, and Stanton included "It Only Takes a Moment" and the clip of the actors holding hands, because he wanted a visual way to show how WALL-E understands love and conveys it to EVE. Hello, Dolly! composer Jerry Herman allowed the songs to be used without knowing what for; when he saw the film, he found its incorporation into the story "genius".[71] Coincidentally, Newman's uncle Lionel worked on Hello, Dolly![21]

Newman travelled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians. Afterwards, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.[21] Louis Armstrong's rendition of "La Vie en rose" was used for a montage where WALL-E attempts to impress EVE on Earth. The script also specified using Bing Crosby's "Stardust" for when the two robots dance around the Axiom,[23] but Newman asked if he could score the scene himself. A similar switch occurred for the sequence in which WALL-E attempts to wake EVE up through various means; originally, the montage would play with the instrumental version of "Raindrops Keep Fallin' on My Head", but Newman wanted to challenge himself and scored an original piece for the sequence.[73]

Themes Edit

The film is recognized as a social criticism. Katherine Ellison asserts that "Americans produce nearly 400 million tons of solid waste per year but recycle less than a third of it, according to a recent Columbia University study." Landfills were filling up very rapidly worldwide, and predictions were made that the UK could run out of landfill space by 2017.[74]

Environment, waste, and nostalgia Edit

Further information: Pollution

In the DVD commentary, Stanton said that he has been asked if it was his intention to make a movie about consumerism. His answer was it was not; it was a way to answer the question of how would the Earth get to the state where one robot would be left to continue the cleanup by itself. Nevertheless, some critics have noted an incongruity between the perceived pro-environmental and anti-consumerist messaging of the film, and the environmental impacts in the production and merchandising of the film.[75]

In "WALL-E: from environmental adaption to sentimental nostalgia," Robin Murray and Joseph Heumann explain the important theme of nostalgia in this film. Nostalgia is clearly represented by human artifacts, left behind, that WALL-E collects and cherishes, for example Zippo lighters, hubcaps, and plastic sporks. These modern items that are used out of necessity are made sentimental through the lens of the bleak future of Earth. Nostalgia is also expressed through the musical score, as the film opens with a camera shot of outer space that slowly zooms into a waste filled Earth while playing "Put on Your Sunday Clothes", reflecting on simpler and happier times in human history. This film also expresses nostalgia through the longing of nature and the natural world, as it is the sight and feeling of soil, and the plant brought back to the space ship by EVE, that make the captain decide it is time for humans to move back to Earth. WALL-E expresses nostalgia also, by reflecting on romantic themes of older Disney and silent films.[6]

Stanton describes the theme of the film as "irrational love defeats life's programming":[38]

I realized the point I was trying to push with these two programmed robots was the desire for them to try and figure out what the point of living was ... It took these really irrational acts of love to sort of discover them against how they were built ... I realized that that's a perfect metaphor for real life. We all fall into our habits, our routines and our ruts, consciously or unconsciously to avoid living. To avoid having to do the messy part. To avoid having relationships with other people or dealing with the person next to us. That's why we can all get on our cell phones and not have to deal with one another. I thought, 'That's a perfect amplification of the whole point of the movie.' I wanted to run with science in a way that would sort of logically project that.[38]

Technology Edit

Stanton noted many commentators placed emphasis on the environmental aspect of humanity's complacency in the film, because "that disconnection is going to be the cause, indirectly, of anything that happens in life that's bad for humanity or the planet".[76] Stanton said that by taking away effort to work, the robots also take away humanity's need to put effort into relationships.[59] Christian journalist Rod Dreher saw technology as the complicated villain of the film. The humans' artificial lifestyle on the Axiom has separated them from nature, making them "slaves of both technology and their own base appetites, and have lost what makes them human". Dreher contrasted the hardworking, dirt covered WALL-E with the sleek clean robots on the ship. However, it is the humans and not the robots who make themselves redundant. Humans on the ship and on Earth have overused robots and the ultra-modern technology. During the end credits, humans and robots are shown working alongside each other to renew the Earth. "WALL·E is not a Luddite film," he said. "It doesn't demonize technology. It only argues that technology is properly used to help humans cultivate their true nature—that it must be subordinate to human flourishing, and help move that along."[77]

Religion Edit

 
The Axiom and EVE have been compared to the legend of Noah's Ark and the dove that Noah sets forth from the Ark.

Stanton, who is a Christian,[26] named EVE after the Biblical figure because WALL-E's loneliness reminded him of Adam, before God created his wife.[78] Dreher noted EVE's biblical namesake and saw her directive as an inversion of that story; EVE uses the plant to tell humanity to return to Earth and move away from the "false god" of BnL and the lazy lifestyle it offers. In cohesion with the classical Christian viewpoint, WALL-E shows that work is what makes humans human. Whereas other sources would say that laziness and pleasure is paradise, WALL-E tries to show that that is not true. Dreher emphasized the false god parallels to BnL in a scene where a robot teaches infants "B is for Buy n Large, your very best friend", which he compared to modern corporations such as McDonald's creating brand loyalty in children.[77] Megan Basham of World magazine felt the film criticizes the pursuit of leisure, whereas WALL-E in his stewardship learns to truly appreciate God's creation.[26]

During writing, a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage.[79] WALL-E himself has been compared to Prometheus,[42] Sisyphus,[77] and Butades: in an essay discussing WALL-E as representative of the artistic strive of Pixar itself, Hrag Vartanian compared WALL-E to Butades in a scene where the robot expresses his love for EVE by making a sculpture of her from spare parts. "The Ancient Greek tradition associates the birth of art with a Corinthian maiden who longing to preserve her lover's shadow traces it on the wall before he departed for war. The myth reminds us that art was born out of longing and often means more for the creator than the muse. In the same way Stanton and his Pixar team have told us a deeply personal story about their love of cinema and their vision for animation through the prism of all types of relationships."[80]

Release Edit

WALL-E premiered at the Greek Theatre in Los Angeles on June 23, 2008.[81] Continuing a Pixar tradition, the film was paired with a short film for its theatrical release, Presto. The film is dedicated to Justin Wright (1981–2008), a Pixar animator who had worked on Ratatouille and died of a heart attack before WALL-E's release.[21]

Walt Disney Imagineering (WDI) built animatronic WALL-Es to promote the picture, which made appearances at Disneyland Resort,[82] the Franklin Institute, the Miami Science Museum, the Seattle Center, and the Tokyo International Film Festival.[83] Due to safety concerns, the 318 kg robots were always strictly controlled and WDI always needed to know exactly what they were required to interact with. For this reason, they generally refused to have their puppets meet and greet children at the theme parks in case a WALL-E trod on a child's foot. Those who wanted to take a photograph with the character had to make do with a cardboard cutout.[84]

The film was denied a theatrical release in China.[85]

In 2016, Jim Morris noted that the studio has no plans for a sequel, as they consider WALL-E a finished story with no need for continuation.[86]

Merchandise Edit

Small quantities of merchandise were sold for WALL-E, as Cars items were still popular, and many manufacturers were more interested in Speed Racer, which was a successful product line despite the film's failure at the box office. Thinkway, which created the WALL·E toys, had previously made Toy Story dolls when other toy producers had not shown an interest.[83] Among Thinkway's items were a WALL-E that danced when connected to a music player, a toy that could be taken apart and reassembled, and a groundbreaking remote control toy of him and EVE that had motion sensors that allowed them to interact with players.[87] There were even plushies.[88] The "Ultimate WALL-E" figures were not in stores until the film's home release in November 2008,[83] at a retail price of almost $200, leading The Patriot-News to deem it an item for "hard-core fans and collectors only".[87] On February 4, 2015, Lego announced that a WALL-E custom built by lead animator Angus MacLane was the latest design approved for mass production and release as part of Lego Ideas.[89]

Home media Edit

The film was released on Blu-ray Disc and DVD by Walt Disney Studios Home Entertainment on November 18, 2008. Various editions include the short film Presto, another short film BURN-E, the Leslie Iwerks documentary film The Pixar Story, shorts about the history of Buy n Large, behind-the-scenes special features, and a digital copy of the film that can be played through iTunes or Windows Media Player-compatible devices.[90] This release sold 9,042,054 DVD units ($142,633,974) in total becoming the second-best-selling animated DVD among those released in 2008 in units sold (behind Kung Fu Panda), the best-selling animated feature in sales revenue, and the third-best-selling among all 2008 DVDs.[91]

WALL-E was released in Japan in a limited edition Blu-ray box set, which included a book featuring artwork from the film, a framed print, and a remote control version of Wall-E. This edition is now discontinued.

WALL-E was released by Disney on 4K Blu-ray on March 3, 2020.[92]

At the request of Stanton, Disney licensed WALL-E to The Criterion Collection in September 2022, who created a special 4K Blu-ray-Blu-ray combo edition of the film that was released on November 22, 2022, featuring the same 4K digital master used for Disney's original 4K Blu-ray release, but now presented in Dolby Vision and HDR10+ as approved by Stanton, along with additional special features. This makes it both the first Pixar feature film and the eighth Walt Disney Pictures film to be released[a] under the Criterion label.[93] In its description for the release, Criterion viewed the film as an important work of both the animation medium and of cinema itself, saying that while "Transporting us simultaneously back to cinema’s silent origins and light-years into the future, WALL-E is a soaring ode to the power of love and art to heal a dying world."[94][95][93]

Reception Edit

Box office Edit

WALL-E grossed $223.8 million in the United States and Canada and $308.7 million overseas, for a worldwide total of $532.5 million,[3] making it the ninth-highest-grossing film of 2008.[96]

In the US and Canada, WALL-E opened in 3,992 theaters on June 27, 2008.[97] The film grossed $23.1 million on its opening day, the highest of all nine Pixar titles to date.[98] During its opening weekend, it topped the box office with $63,087,526.[97] This was the third-best opening weekend for a Pixar film after Finding Nemo and The Incredibles, and the second-best opening weekend among films released in June, behind Harry Potter and the Prisoner of Azkaban.[98] The film grossed $38 million the following weekend, losing its first place to Hancock.[99] WALL-E crossed the $200 million mark by August 3, during its sixth weekend.[100]

WALL-E grossed over $10 million in Japan ($44,005,222), UK, Ireland and Malta ($41,215,600), France and the Maghreb region ($27,984,103), Germany ($24,130,400), Mexico ($17,679,805), Spain ($14,973,097), Australia ($14,165,390), Italy ($12,210,993), and Russia and the CIS ($11,694,482).[101]

Critical response Edit

The American Film Institute named WALL-E as one of the best films of 2008;[102] the jury rationale states:

WALL•E proves to this generation and beyond that the film medium's only true boundaries are the human imagination. Writer/director Andrew Stanton and his team have created a classic screen character from a metal trash compactor who rides to the rescue of a planet buried in the debris that embodies the broken promise of American life. Not since Chaplin's "Little Tramp" has so much story—so much emotion—been conveyed without words. When hope arrives in the form of a seedling, the film blossoms into one of the great screen romances as two robots remind audiences of the beating heart in all of us that yearns for humanity—and love—in the darkest of landscapes.

On the review aggregator website Rotten Tomatoes, 95% of 262 critics' reviews are positive, with an average rating of 8.6/10. The website's consensus reads: "Wall-E's stellar visuals testify once again to Pixar's ingenuity, while its charming star will captivate younger viewers—and its timely story offers thought-provoking subtext."[103] At Metacritic, which assigns a normalized rating to reviews from mainstream critics, the film has an average score of 95 out of 100 based on 39 reviews, indicating "universal acclaim".[104] Audiences polled by CinemaScore gave the film an average rating of "A" on an A+ to F scale.[105]

IndieWire named WALL-E the third-best film of the year based on their annual survey of 100 film critics, while Movie City News shows that WALL-E appeared in 162 different top 10 lists, out of 286 different critics lists surveyed, the most mentions on a top 10 list of any film released in 2008.[106]

Richard Corliss of Time named WALL-E his favorite film of 2008 (and later of the decade), noting the film succeeded in "connect[ing] with a huge audience" despite the main characters' lack of speech and "emotional signifiers like a mouth, eyebrows, shoulders, [and] elbows". It "evoke[d] the splendor of the movie past" and he also compared WALL-E and EVE's relationship to the chemistry of Spencer Tracy and Katharine Hepburn.[107] Other critics who named WALL-E their favorite film of 2008 included Tom Charity of CNN,[108] Michael Phillips of the Chicago Tribune, Lisa Schwarzbaum of Entertainment Weekly, A. O. Scott of The New York Times, Christopher Orr of The New Republic, Ty Burr and Wesley Morris of The Boston Globe, Joe Morgenstern of The Wall Street Journal, and Anthony Lane of The New Yorker.[109]

Todd McCarthy of Variety called the film "Pixar's ninth consecutive wonder", saying it was imaginative yet straightforward. He said it pushed the boundaries of animation by balancing esoteric ideas with more immediately accessible ones, and that the main difference between the film and other science fiction projects rooted in an apocalypse was its optimism.[110] Kirk Honeycutt of The Hollywood Reporter declared that WALL-E surpassed the achievements of Pixar's previous eight features and probably their most original film to date. He said it had the "heart, soul, spirit and romance" of the best silent films. Honeycutt said the film's definitive stroke of brilliance was in using a mix of archive film footage and computer graphics to trigger WALL·E's romantic leanings. He praised Burtt's sound design, saying "If there is such a thing as an aural sleight of hand, this is it."[111]

Roger Ebert of the Chicago Sun-Times named WALL-E "an enthralling animated film, a visual wonderment, and a decent science-fiction story" and said the scarcity of dialogue would allow it to "cross language barriers" in a manner appropriate to the global theme, and noted it would appeal to adults and children. He praised the animation, describing the color palette as "bright and cheerful ... and a little bit realistic", and that Pixar managed to generate a "curious" regard for the WALL·E, comparing his "rusty and hard-working and plucky" design favorably to more obvious attempts at creating "lovable" lead characters. He said WALL-E was concerned with ideas rather than spectacle, saying it would trigger stimulating "little thoughts for the younger viewers."[112] He named it as one of his twenty favorite films of 2008 and argued it was "the best science-fiction movie in years".[113]

The film was interpreted as tackling a topical, ecologically-minded agenda,[103] though McCarthy said it did so with a lightness of touch that granted the viewer the ability to accept or ignore the message.[110] Kyle Smith of the New York Post, wrote that by depicting future humans as "a flabby mass of peabrained idiots who are literally too fat to walk", WALL-E was darker and more cynical than any major Disney feature film he could recall. He compared the humans to the patrons of Disney's theme parks and resorts, adding, "I'm also not sure I've ever seen a major corporation spend so much money to issue an insult to its customers."[114] Maura Judkis of U.S. News & World Report questioned whether this depiction of "frighteningly obese humans" would resonate with children and make them prefer to "play outside rather than in front of the computer, to avoid a similar fate".[115]

A few notable critics have argued that the film is vastly overrated,[116] claiming it failed to "live up to such blinding, high-wattage enthusiasm",[117] and that there were "chasms of boredom watching it", in particular "the second and third acts spiraled into the expected".[118] Other labels included "preachy"[116] and "too long".[117] Child reviews sent into CBBC were mixed, some citing boredom and an inadequate storyline.[119]

Several conservative commentators criticized the film. Shannen W. Coffin of National Review said that WALL-E is "leftist propaganda about the evils of mankind". Greg Pollowitz of National Review called the film "a 90-minute lecture on the dangers of over consumption, big corporations, and the destruction of the environment". Jonah Goldberg said that while the film was "fascinating and at-times brilliant", he added that it is also "Malthusian fear mongering". Glenn Beck said that "I can't wait to teach my kids how we've destroyed the Earth ... Pixar is teaching. I can't wait. You know if your kid has ever come home and said, 'Dad, how come we use so much styrofoam,' oh, this is the movie for you."[120][121]

Patrick J. Ford of The American Conservative said WALL-E's conservative critics missed lessons in the film that he felt appealed to traditional conservatism. He argued that the mass consumerism in the film was not shown to be a product of big business, but of too close a tie between big business and big government: "The government unilaterally provided its citizens with everything they needed, and this lack of variety led to Earth's downfall." Responding to Coffin's claim that the film points out the evils of mankind, Ford argued the only evils depicted were those that resulted from losing touch with our own humanity and that fundamental conservative representations such as the farm, the nuclear family unit, and "wholesome entertainment" were seen as "beautiful and desirable." by the human characters. He concluded, "By steering conservative families away from WALL-E, these commentators are doing their readers a great disservice."[122]

Director Terry Gilliam praised the film as "A stunning bit of work. The scenes on what was left of planet Earth are just so beautiful: one of the great silent movies. And the most stunning artwork! It says more about ecology and society than any live-action film—all the people on their loungers floating around, brilliant stuff. Their social comment was so smart and right on the button."[123]

Archaeologists have commented on the themes of human evolution that the film explores.[124] Ben Marwick has written how the character of WALL-E resembles an archaeologist with his methodical collection and classification of quotidian human artefacts. He is shown facing a typological dilemma of classifying a spork as either a fork or spoon, and his nostalgic interest in the human past further demonstrated by his attachment to repeated viewings of the 1969 film Hello, Dolly!. Marwick notes that the film features major human evolutionary transitions such as obligate bipedalism (captain of the spaceship struggles with the autopilot to gain control of the vessel) and the invention of agriculture, as part of watershed moments in the story of the film. According to Marwick, one prominent message of the film "appears to be that the envelopment by technology that the humans in Wall-E experience paradoxically results in physical and cultural devolution." Scholars such as Ian Tattersall and Steve Jones have similarly discussed scenarios where elements of modern technology (such as medicine) may have caused human evolution to slow or stop.

In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16]

Accolades Edit

Main article: List of accolades received by WALL-E

WALL-E won the Academy Award for Best Animated Feature and was nominated for Best Original Screenplay, Best Original Score, Best Original Song, Sound Editing, and Sound Mixing at the 81st Academy Awards.[125][126] Walt Disney Pictures also pushed for an Academy Award for Best Picture nomination,[127] but it was not nominated, sparking controversy over whether the Academy deliberately restricted WALL-E to the Best Animated Feature category.[128] Film critic Peter Travers remarked, "If there was ever a time where an animated feature deserved to be nominated for best picture it's Wall-E."[129] Only three animated films, 1991's Beauty and the Beast and Pixar's next two films, 2009's Up and 2010's Toy Story 3, have ever been nominated for the Academy Award for Best Picture. A reflective Stanton stated he was not disappointed the film was restricted to the Best Animated Film nomination because he was overwhelmed by the film's positive reception, and eventually "The line [between live-action and animation] is just getting so blurry that I think with each proceeding year, it's going to be tougher and tougher to say what's an animated movie and what's not an animated movie."[31]

WALL-E made a healthy appearance at the various 2008 end-of-the-year awards circles, particularly in the Best Picture category, where animated films are often overlooked. It has won the award, or the equivalent of it, from the Boston Society of Film Critics (tied with Slumdog Millionaire),[130] the Chicago Film Critics Association,[131] the Central Ohio Film Critics awards,[132] the Online Film Critics Society,[133] and most notably the Los Angeles Film Critics Association, where it became the first animated feature to win the prestigious award.[134] It was named as one of 2008's ten best films by the American Film Institute and the National Board of Review of Motion Pictures.[135][136]

It won Best Animated Feature Film at the 66th Golden Globe Awards, 81st Academy Awards, and the Broadcast Film Critics Association Awards 2008.[137][138] It was nominated for several awards at the 2009 Annie Awards, including Best Feature Film, Animated Effects, Character Animation, Direction, Production design, Storyboarding and Voice acting (for Ben Burtt);[citation needed] but was beaten out by Kung Fu Panda in every category.[139] It won Best Animated Feature at the 62nd British Academy Film Awards and was also nominated there for Best Music and Sound.[140] Thomas Newman and Peter Gabriel won two Grammy Awards for "Down to Earth" and "Define Dancing".[141] It won all three awards it was nominated for by the Visual Effects Society: Best Animation, Best Character Animation (for WALL-E and EVE in the truck) and Best Effects in the Animated Motion Picture categories.[142] It became the first animated film to win Best Editing for a Comedy or Musical from the American Cinema Editors.[143] In 2009, Stanton, Reardon, and Docter won the Nebula Award, beating The Dark Knight and the Stargate Atlantis episode "The Shrine".[144][145] It won Best Animated Film and was nominated for Best Director at the Saturn Awards.[146]

At the British National Movie Awards, which is voted for by the public, it won Best Family Film.[147] It was also voted Best Feature Film at the British Academy Children's Awards.[148] WALL-E was listed at No. 63 on Empire's online poll of the 100 greatest movie characters, conducted in 2008.[149] In early 2010, Time ranked WALL-E No. 1 in "Best Movies of the Decade".[150] In Sight & Sound magazine's 2012 poll of the greatest films of all time, WALL-E is the second-highest-ranking animated film behind My Neighbor Totoro (1988), while tying with the film Spirited Away (2001) at 202nd overall.[151] In a 2016 BBC poll of international critics, it was voted the 29th-greatest film since 2000.[152]

Robotic recreations Edit

In 2012, Mike McMaster,[153] an American robotics hobbyist, began working on his own model of WALL·E. The final product was built with more moving parts than the WALL·E which roams around Disneyland. McMaster's four-foot robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested.com[154] a project headed up by Jamie Hyneman and Adam Savage of MythBusters. Since WALL-E's creation, Mike and the popular robot have made dozens of appearances at various events.[155]

In the same year, Mike Senna completed his own WALL·E build.[156] He also created an EVE. They were present at a photo op at Disney's D23 Expo 2015.[157]

See also Edit

Notes Edit

  1. ^ Disney has licensed films from the Hollywood Pictures and Touchstone Pictures library to Criterion since the 1990s, most notably the films of Wes Anderson and Michael Bay.

References Edit

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Bibliography Edit

External links Edit

October 12, 2023
wall, other, uses, disambiguation, 2008, american, computer, animated, science, fiction, romance, film, produced, pixar, animation, studios, released, walt, disney, pictures, film, directed, andrew, stanton, produced, morris, written, stanton, reardon, stars, . For other uses see WALL E disambiguation WALL E is a 2008 American computer animated science fiction romance film 5 produced by Pixar Animation Studios and released by Walt Disney Pictures The film was directed by Andrew Stanton produced by Jim Morris and written by Stanton and Jim Reardon It stars the voices of Ben Burtt Elissa Knight Jeff Garlin John Ratzenberger Kathy Najimy with Sigourney Weaver and Fred Willard The film follows a solitary robot named WALL E on a future uninhabitable deserted Earth in 2805 left to clean up garbage He is visited by a robot called EVE sent from the starship Axiom with whom he falls in love and pursues across the galaxy WALL ETheatrical release posterDirected byAndrew StantonScreenplay byAndrew Stanton Jim ReardonStory byAndrew Stanton Pete DocterProduced byJim MorrisStarringBen Burtt Elissa Knight Jeff Garlin Fred Willard John Ratzenberger Kathy Najimy Sigourney WeaverCinematographyJeremy Lasky Danielle FeinbergEdited byStephen SchafferMusic byThomas NewmanProductioncompaniesWalt Disney Pictures Pixar Animation StudiosDistributed byWalt Disney StudiosMotion PicturesRelease datesJune 23 2008 2008 06 23 Greek Theatre June 27 2008 2008 06 27 United States Running time98 minutes 1 CountryUnited StatesLanguageEnglishBudget 180 million 2 Box office 532 5 million 3 4 After directing Finding Nemo Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space WALL E has minimal dialogue in its early sequences many of the characters in the film do not have voices but instead communicate with body language and robotic sounds that were designed by Burtt The film incorporates various topics including consumerism corporatocracy nostalgia waste management human environmental impact and concerns obesity sedentary lifestyles and global catastrophic risk 6 It is also Pixar s first animated film with segments featuring live action characters Thomas Newman composed the film s musical score The film cost 180 million to produce a record breaking sum for an animated film at the time Following Pixar tradition WALL E was paired with a short film titled Presto for its theatrical release WALL E was released in the United States on June 27 2008 The film received critical acclaim for its animation story voice acting characters visuals score sound design screenplay use of minimal dialogue and scenes of romance 7 8 It was also commercially successful grossing 521 3 million worldwide and becoming the ninth highest grossing film of 2008 It won the 2008 Golden Globe Award for Best Animated Feature Film the 2009 Hugo Award for Best Long Form Dramatic Presentation 9 the final Nebula Award for Best Script 10 the Saturn Award for Best Animated Film and the Academy Award for Best Animated Feature with five additional Oscar nominations The film was widely named by critics and organizations including the National Board of Review and American Film Institute as one of the best films of 2008 11 12 and to be considered among the greatest animated films ever made 13 14 15 In 2021 WALL E became the second Pixar feature film after Toy Story to be selected for preservation in the United States National Film Registry by the Library of Congress as being culturally historically or aesthetically significant 16 In September 2022 at the request of Stanton Disney licensed WALL E to The Criterion Collection who re released the film as a special edition 4K Blu Ray standard Blu ray combo pack on November 22 2022 marking the first Pixar film to ever receive such an honor 17 18 Contents 1 Plot 2 Cast 2 1 Voice cast 2 2 Live action cast 3 Production 3 1 Writing 3 2 Design 3 3 Animation 3 4 Sound 3 5 Music 4 Themes 4 1 Environment waste and nostalgia 4 2 Technology 4 3 Religion 5 Release 5 1 Merchandise 5 2 Home media 6 Reception 6 1 Box office 6 2 Critical response 6 3 Accolades 7 Robotic recreations 8 See also 9 Notes 10 References 11 Bibliography 12 External linksPlot EditIn the 29th century Earth is a garbage strewn wasteland due to an ecocide caused by rampant consumerism corporate greed and environmental neglect 19 Humanity is nowhere to be seen having been evacuated by the megacorporation Buy n Large BnL to space on giant starliners leaving trash compacting robots to clean up the planet seven hundred years prior The cleanup has failed and the last remaining active robot named Waste Allocation Load Lifter Earth Class WALL E has developed a personality WALL E remains active by salvaging parts from other inactive robots and lives with his pet cockroach as his only companion in a large truck designed to carry the robots One day WALL E s routine of compressing trash and collecting interesting objects is broken by the arrival of an unmanned probe carrying an egg shaped robot named Extraterrestrial Vegetation Evaluator EVE which is sent to scan the planet for signs of sustainable life WALL E is smitten by the sleek otherworldly robot and the two begin to connect until EVE goes into standby mode when WALL E shows her his most recent find a living seedling The probe ship eventually returns and collects EVE and the plant with WALL E clinging on The probe ship then returns to its mothership the starliner Axiom In the centuries since the Axiom left Earth its passengers have degenerated into helpless obesity due to microgravity and laziness with robots catering to their every whim Even Captain B McCrea is used to sitting back while his robotic AI autopilot helm nicknamed AUTO pilots the ship McCrea is unprepared to receive the positive probe response but discovers that placing the plant in the ship s Holo Detector will trigger a hyperjump back to Earth so that humanity can begin recolonization When McCrea inspects EVE s storage compartment the plant is missing with EVE blaming WALL E for its disappearance EVE is deemed faulty and taken to diagnostics Mistaking the process for torture WALL E intervenes and inadvertently releases all the other faulty bots causing him and EVE to be designated as rogues Frustrated EVE tries to send WALL E home in an escape pod but before she can the two witness a small robot GO 4 stowing the plant in a pod set to self destruct revealing that WALL E did not steal the plant WALL E tries retrieving it but is launched into space EVE uses an emergency exit to chase after WALL E and witnesses the pod explode although both he and the plant survive unscathed He and EVE reconcile celebrating with a dance in space around the Axiom EVE brings the plant back to McCrea who watches her recordings of Earth concluding that they can and must save it However AUTO reveals that it has been programmed with the secret no return directive A113 issued after BnL CEO Shelby Forthright inaccurately believed Earth could not be saved GO 4 attempted to dispose of the plant on AUTO s instruction to make EVE seem faulty When McCrea countermands the directive AUTO and GO 4 mutiny electrocuting WALL E forcefully putting EVE into standby throwing them both down a garbage chute and locking McCrea in his quarters EVE having been reactivated by a mouse like robot and WALL E are nearly ejected into space with the ship s refuse but Microbe Obliterator M O a cleaning robot who had been following WALL E s dirt trail across the ship saves the two when he gets stuck when the gate closes prompting the Waste Allocation Load Lifter Axiom Class WALL A garbage bots to abort the ejection As humans and robots help in securing the plant McCrea and AUTO fight for control of the Axiom AUTO crushes WALL E using the Holo Detector in a last ditch attempt to keep the human passengers in space McCrea eventually overpowers and deactivates AUTO by switching it to manual mode and EVE successfully inserts the plant initiating the hyperjump Arriving back on Earth EVE quickly repairs WALL E but finds that his memory and personality have been erased Heartbroken EVE gives WALL E a goodbye kiss which restores him to his normal self WALL E and EVE reunite as the Axiom inhabitants take their first steps on Earth During the credits humans and robots turn the ravaged planet into a paradise and the plant grows into a mighty tree which EVE and WALL E rest beneath Cast EditVoice cast Edit Ben Burtt as WALL E Waste Allocation Load Lifter Earth Class 20 a compactor robot who has achieved sentience he is the only one still functioning on Earth He is a small mobile compactor box accompanied by his cockroach friend Hal He collects trinkets from the garbage and displays them at his home where he watches a video cassette of 20th Century Studios Hello Dolly mimicking the dance sequences Burtt also voices M O Microbe Obliterator a cleaning robot Elissa Knight as EVE Extraterrestrial Vegetation Evaluator 20 a glossy white egg shaped probe robot with blue LED eyes whose directive is to verify the habitability of planets for humans She moves using antigravity and is equipped with scanners specimen storage and a cannon which she is quick to use Jeff Garlin as Captain B McCrea the captain of the Axiom MacInTalk the text to speech program for Apple Macintosh computers is the voice of AUTO pronounced Otto the Axiom s villainous AI autopilot which handles command functions of the ship Loyal only to directive A113 it is the only computer not influenced by WALL E John Ratzenberger and Kathy Najimy as John and Mary who live on the Axiom so dependent on their automatic services as to be oblivious to their surroundings They are brought out of their trances by encounters with WALL E and fall in love with each other Sigourney Weaver as the Axiom s computer Stanton joked to Weaver You realize you get to be Mother now 21 22 referring to the ship s computer in the film Alien starring Weaver 22 Live action cast Edit Fred Willard as Shelby Forthright owner of the Buy n Large Corporation and President of Earth The only major live action character appearing only in videos recorded around the time of the Axiom s launch in the 22nd century Forthright proposed the plan to evacuate Earth s population and then clean up the planet so they could return within five years Discovering that Earth had become too toxic to support life the cleanup and recolonization were abandoned Forthright issued directive A113 preventing anyone from returning to Earth As of 2023 Forthright is the only live action character with a speaking role in any Pixar film Michael Crawford and Marianne McAndrew appear in an archival recording performing It Only Takes a Moment from Hello Dolly Production EditWriting Edit BACK ON M O AND WALLY sic M O just finishes cleaning the floor Wally is fascinated Impishly makes another mark M O compulsively cleans it Can t resist M O bleeps Look it stays clean You got that Wally wipes the bottom of his tread on M O s face M O loses it Scrubs his own face Stanton wrote the screenplay to focus on the visualsand as a guide to what the sound effects needed to convey 23 Andrew Stanton conceived WALL E during a lunch with fellow writers John Lasseter Pete Docter and Joe Ranft in 1994 Toy Story was near completion and the writers brainstormed ideas for their next projects A Bug s Life Monsters Inc and Finding Nemo at this lunch Stanton asked What if mankind had to leave Earth and somebody forgot to turn off the last robot 21 Having struggled for many years with making the characters in Toy Story appealing Stanton found his simple Robinson Crusoe esque idea of a lonely robot on a deserted planet strong 24 25 Stanton made WALL E a waste collector as the idea was instantly understandable and because it was a low status menial job that made him sympathetic 26 Stanton also liked the imagery of stacked cubes of garbage 27 He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster 28 Stanton and Docter developed the film under the title of Trash Planet for two months in 1995 but they did not know how to develop the story and Docter chose to direct Monsters Inc instead 29 30 Stanton came up with the idea of WALL E finding a plant because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements 31 Before they turned their attention to other projects Stanton and Lasseter thought about having WALL E fall in love as it was the necessary progression away from loneliness 28 Stanton started writing WALL E again in 2002 while completing Finding Nemo 32 Stanton formatted his script in a manner reminiscent of Dan O Bannon s Alien O Bannon wrote his script in a manner Stanton found reminded him of haiku where visual descriptions were done in continuous lines of a few words Stanton wrote his robot dialogue conventionally but placed them in brackets 25 In late 2003 Stanton and a few others created a story reel of the first twenty minutes of the film Lasseter and Steve Jobs were impressed and officially began development 33 though Jobs stated he did not like the title originally spelled W A L E 34 While the first act of WALL E fell out of the sky for Stanton 28 he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was different When WALL E comes to the Axiom he incites a Spartacus style rebellion by the robots against the remnants of the human race which were cruel alien Gels completely devolved gelatinous boneless legless see through green creatures that resemble Jell O James Hicks a physiologist mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period 21 35 36 Therefore this was the inspiration of the humans degenerating into the alien Gels 37 and their ancestry would have been revealed in a Planet of the Apes style ending 38 The Gels also spoke a made up gibberish language but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline 39 The Gels had a royal family who host a dance in a castle on a lake in the back of the ship and the Axiom curled up into a ball when returning to Earth in this incarnation of the story 39 Stanton decided this was too bizarre and unengaging and conceived humanity as big babies 38 Stanton developed the metaphorical theme of the humans learning to stand again and grow ing up 38 40 wanting WALL E and EVE s relationship to inspire humanity because he felt few films explore how utopian societies come to exist 41 The process of depicting the descendants of humanity as the way they appear in the movie was slow Stanton first decided to put a nose and ears on the Gels so the audience could recognize them Eventually fingers legs clothes and other characteristics were added until they arrived at the concept of being fetus like to allow the audience to see themselves in the characters 39 In a later version of the film AUTO comes to the docking bay to retrieve EVE s plant The film would have its first cutaway to the captain but Stanton moved that as he found it too early to begin moving away from WALL E s point of view As an homage to Get Smart 42 AUTO takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large s scheme to clean up the Earth falling apart through the years Stanton removed this to keep some mystery as to why the plant is taken from EVE The captain appears to be unintelligent but Stanton wanted him to just be unchallenged otherwise he would have not been sympathetic 37 One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside down only to fix it before he challenges AUTO In the finished film he merely wears it casually atop his head tightening it when he really takes command of the Axiom 39 Stanton also moved the moment where WALL E reveals his plant which he had snatched from the self destructing escape pod from producing it from a closet to immediately after his escape as it made EVE happier and gave them stronger motivation to dance around the ship Originally EVE would have been electrocuted by AUTO and then be quickly saved from ejection at the hands of the Waste Allocation Load Lifter Axiom class WALL A robots by WALL E He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth Stanton reversed this following a 2007 test screening as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL E and it made WALL E even more heroic if he held the holo detector open despite being badly hurt 37 The idea of WALL E losing his memory and personality came after the braintrust team abandoned a scene where EVE had been shot in her heart battery and WALL E gave her his own battery instead 43 Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film s end Jim Capobianco director of the Ratatouille short film Your Friend the Rat created an end credits animation that continued the story and stylized in different artistic movements throughout history to clarify an optimistic tone 44 Design Edit WALL E was the most complex Pixar production since Monsters Inc because of the world and the history that had to be conveyed 24 Whereas most Pixar films have up to 75 000 storyboards WALL E required 125 000 45 Production designer Ralph Eggleston wanted the lighting of the first act on Earth to be romantic and that of the second act on the Axiom to be cold and sterile During the third act the romantic lighting is slowly introduced into the Axiom environment 21 Pixar studied Chernobyl and the city of Sofia to create the ruined world art director Anthony Christov was from Bulgaria and recalled Sofia used to have problems storing its garbage 46 47 Eggleston bleached out the whites on Earth to make WALL E feel vulnerable The overexposed light makes the location look more vast Because of the haziness the cubes making up the towers of garbage had to be large otherwise they would have lost shape in turn this helped save rendering time The dull tans of Earth subtly become soft pinks and blues when EVE arrives When WALL E shows EVE all his collected items all the lights he has collected light up to give an inviting atmosphere like a Christmas tree Eggleston tried to avoid the colors yellow and green so WALL E who was made yellow to emulate a tractor would not blend into the deserted Earth and to make the plant more prominent 48 nbsp WALL E finds a bra Roger Deakins and Dennis Muren were consulted on realistic lighting including backgrounds that are less focused than foregrounds Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth He thought that Pixar captured the physics of being underwater with Finding Nemo and so for WALL E he wanted to push that for air While rewatching some of his favorite science fiction films he realized that Pixar s other movies had lacked the look of 70 mm film and its barrel distortion lens flare and racking focus 24 Producer Jim Morris invited Roger Deakins and Dennis Muren to advise on lighting and atmosphere Muren spent several months with Pixar while Deakins hosted one talk and was requested to stay on for another two weeks Stanton said Muren s experience came from integrating computer animation into live action settings while Deakins helped them understand not to overly complicate their camerawork and lighting 41 1970s Panavision cameras were used to help the animators understand and replicate handheld imperfections like unfocused backgrounds in digital environments 21 The first lighting test included building a three dimensional replica of WALL E filming it with a 70 mm camera and then trying to replicate that in the computer 49 Stanton cited the shallow lens work of Gus Van Sant s films as an influence as it created intimacy in each close up Stanton chose angles for the virtual cameras that a live action filmmaker would choose if filming on a set 28 Stanton wanted the Axiom s interior to resemble Shanghai and Dubai 24 Eggleston studied 1960s NASA paintings and the original concept art for Tomorrowland for the Axiom to reflect that era s sense of optimism 21 Stanton remarked We are all probably very similar in our backgrounds here at Pixar in that we all miss the Tomorrowland that was promised us from the heyday of Disneyland and wanted a jet pack feel 24 Pixar also studied the Disney Cruise Line and visited Las Vegas which was helpful in understanding artificial lighting 21 Eggleston based his Axiom designs on the futuristic architecture of Santiago Calatrava Eggleston divided the inside of the ship into three sections the rear s economy class has a basic gray concrete texture with graphics keeping to the red blue and white of the BnL logo The coach class with living shopping spaces has S shapes as people are always looking for what s around the corner Stanton intended to have many colorful signs but he realized this would overwhelm the audience and went with Eggleston s original idea of a small number of larger signs The premier class is a large Zen like spa with colors limited to turquoise cream and tan and leads on to the captain s warm carpeted and wooded quarters and the sleek dark bridge 48 In keeping with the artificial Axiom camera movements were modeled after those of the steadicam 50 The use of live action was a stepping stone for Pixar as Stanton was planning to make John Carter of Mars his next project 24 Storyboarder Derek Thompson noted introducing live action meant that they would make the rest of the film look even more realistic 51 Eggleston added that if the historical humans had been animated and slightly caricaturized the audience then would not have been able to recognize how serious their devolution was 48 Stanton cast Fred Willard as the historical Buy n Large CEO because h e s the most friendly and insincere car salesman I could think of 38 The CEO says stay the course which Stanton used because he thought it was funny 52 Industrial Light amp Magic did the visual effects for these shots 21 Animation Edit WALL E went undeveloped during the 1990s partly because Stanton and Pixar were not confident enough yet to have a feature length film with a main character that behaved like Luxo Jr the Pixar lamp or R2 D2 25 Stanton explained there are two types of robots in cinema human s with metal skin like the Tin Man or machine s with function like Luxo and R2 He found the latter idea powerful because it allowed the audience to project personalities onto the characters as they do with babies and pets You re compelled you almost can t stop yourself from finishing the sentence Oh I think it likes me I think it s hungry I think it wants to go for a walk 53 He added We wanted the audience to believe they were witnessing a machine that has come to life 21 The animators visited recycling stations to study machinery and also met robot designers visited NASA s Jet Propulsion Laboratory to study robots watched a recording of a Mars rover 32 and borrowed a bomb detecting robot from the San Francisco Police Department Simplicity was preferred in their performances as giving them too many movements would make them feel human 21 Stanton wanted WALL E to be a box and EVE to be like an egg 54 WALL E s eyes were inspired by a pair of binoculars Stanton was given when watching the Oakland Athletics play against the Boston Red Sox He missed the entire inning because he was distracted by them 55 The director was reminded of Buster Keaton and decided the robot would not need a nose or mouth 56 Stanton added a zoom lens to make WALL E more sympathetic 56 Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality 48 Pixar s studies of trash compactors during their visits to recycling stations inspired his body 21 His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels 54 The animators wanted him to have elbows but realized this was unrealistic because he is only designed to pull garbage into his body 21 His arms also looked flimsy when they did a test of him waving 54 Animation director Angus MacLane suggested they attach his arms to a track on the sides of his body to move them around based on the inkjet printers his father designed This arm design contributed to creating the character s posture so if they wanted him to be nervous they would lower them 57 Stanton was unaware of the similarities between WALL E and Johnny 5 from Short Circuit until others pointed it out to him 25 Stanton wanted EVE to be at the higher end of technology and asked iPod designer Jonathan Ive to inspect her design He was very impressed 24 Her eyes are modelled on Lite Brite toys 56 but Pixar chose not to make them overly expressive as it would be too easy to have her eyes turn into hearts to express love or something similar 54 Her limited design meant the animators had to treat her like a drawing relying on posing her body to express emotion 21 They also found her similar to a manatee or a narwhal because her floating body resembled an underwater creature 54 Auto was a conscious homage to HAL 9000 from 2001 A Space Odyssey 25 and the usage of Also sprach Zarathustra for the showdown between Captain McCrea and Auto furthers that 58 The manner in which he hangs from a wall or ceiling gives him a threatening feel like a spider 59 Originally Auto was designed entirely differently resembling EVE but masculine and authoritative and SECUR T was also a more aggressive patrol steward robot 37 The majority of the robot cast were formed with the Build a bot program where different heads arms and treads were combined in over a hundred variations 21 The humans were modelled on sea lions due to their blubbery bodies 48 as well as babies The filmmakers noticed baby fat is a lot tighter than adult fat and copied that texture for the film s humans 60 To animate their robots the film s story crew and animation crew watched a Keaton and a Charlie Chaplin film every day for almost a year and occasionally a Harold Lloyd picture 25 Afterwards the filmmakers knew all emotions could be conveyed silently Stanton cited Keaton s great stone face as giving them perseverance in animating a character with an unchanging expression 56 As he rewatched these Stanton felt that filmmakers since the advent of sound relied on dialogue too much to convey exposition 25 The filmmakers dubbed the cockroach WALL E keeps as a pet Hal in reference to silent film producer Hal Roach as well as being an additional reference to HAL 9000 21 They also watched 2001 A Space Odyssey The Black Stallion and Never Cry Wolf films that had sound but were not reliant on dialogue 51 Stanton acknowledged Silent Running as an influence because its silent robots were a forerunner to the likes of R2 D2 41 and that the hopeless romantic Woody Allen also inspired WALL E 29 Sound Edit Producer Jim Morris recommended Ben Burtt as sound designer for WALL E because Stanton kept using R2 D2 as the benchmark for the robots 42 Burtt had completed Star Wars Episode III Revenge of the Sith and told his wife he would no longer work on films with robots but found WALL E and its substitution of voices with sound fresh and exciting 21 He recorded 2 500 sounds for the film which was twice the average number for a Star Wars film 32 and a record in his career 21 Burtt began work in 2005 61 and experimented with filtering his voice for two years 62 Burtt described the robot voices as like a toddler universal language of intonation Oh Hm Huh you know 63 During production Burtt had the opportunity to look at the items used by Jimmy MacDonald Disney s in house sound designer for many of their classic films Burtt used many of MacDonald s items on WALL E Because Burtt was not simply adding sound effects in post production the animators were always evaluating his new creations and ideas which Burtt found an unusual experience 64 He worked in sync with the animators returning their animation after adding the sounds to give them more ideas 21 Burtt would choose scientifically accurate sounds for each character but if he could not find one that worked he would choose a dramatic and unrealistic noise 64 Burtt would find hundreds of sounds by looking at concept art of characters before he and Stanton pared it down to a distinct few for each robot 24 Burtt saw a hand cranked electrical generator while watching Island in the Sky and bought an identical unpacked device from 1950 on eBay to use for WALL E moving around 65 Burtt also used an automobile self starter for when WALL E goes fast 64 and the sound of cars being wrecked at a demolition derby provided for WALL E s compressing trash in his body 66 The Macintosh computer chime was used to signify when WALL E has fully recharged his battery For EVE Burtt wanted her humming to have a musical quality 64 Burtt was only able to provide neutral or masculine voices so Pixar employee Elissa Knight was asked to provide her voice for Burtt to electronically modify Stanton deemed the sound effect good enough to properly cast her in the role 52 Burtt recorded a flying 10 foot long 3 0 m radio controlled jet plane for EVE s flying 21 and for her plasma cannon Burtt hit a slinky hung from a ladder with a timpani stick He described it as a cousin to the blaster noise from Star Wars 67 MacInTalk was used because Stanton wanted Auto to be the epitome of a robot cold zeros amp ones calculating and soulless and Stephen Hawking s kind of voice I thought was perfect 41 Additional sounds for the character were meant to give him a clockwork feel to show he is always thinking and calculating 64 Burtt had visited Niagara Falls in 1987 and used his recordings from his trip for the sounds of wind 66 and ran around a hall with a canvas bag up to record the sandstorm 21 For the scene where WALL E flees from falling shopping carts Burtt and his daughter went to a supermarket and placed a recorder in their cart They crashed it around the parking lot and then let it tumble down a hill 68 To create Hal WALL E s pet cockroach s skittering he recorded the clicking caused by taking apart and reassembling handcuffs 21 Music Edit See also WALL E soundtrack Thomas Newman recollaborated with Stanton on WALL E since the two got along well on Finding Nemo which gave Newman the Annie Award for Best Music in an Animated Feature He began writing the score in 2005 in the hope that starting this task early would make him more involved with the finished film But Newman remarked that animation is so dependent on scheduling he should have begun work earlier on when Stanton and Reardon were writing the script EVE s theme was arranged for the first time in October 2007 Her theme when played as she first flies around Earth originally used more orchestral elements and Newman was encouraged to make it sound more feminine 69 Newman said Stanton had thought up many ideas for how he wanted the music to sound and he generally followed them as he found scoring a partially silent film difficult Stanton wanted the whole score to be orchestral but Newman felt limited by this idea especially in scenes aboard the Axiom and used electronics too 70 nbsp A live action clip of the song It Only Takes a Moment from Hello Dolly which inspires WALL E to hold hands with EVEStanton originally wanted to juxtapose the opening shots of space with 1930s French swing music but changed his mind after seeing The Triplets of Belleville 2003 not wanting to appear as if he were copying it 71 Stanton then thought about the song Put On Your Sunday Clothes from Hello Dolly since he had portrayed the sidekick Barnaby Tucker in a 1980 high school production 72 Stanton found that the song was about two naive young men looking for love which was similar to WALL E s own hope for companionship Jim Reardon storyboard supervisor for the film suggested WALL E find the film on video and Stanton included It Only Takes a Moment and the clip of the actors holding hands because he wanted a visual way to show how WALL E understands love and conveys it to EVE Hello Dolly composer Jerry Herman allowed the songs to be used without knowing what for when he saw the film he found its incorporation into the story genius 71 Coincidentally Newman s uncle Lionel worked on Hello Dolly 21 Newman travelled to London to compose the end credits song Down to Earth with Peter Gabriel who was one of Stanton s favorite musicians Afterwards Newman rescored some of the film to include the song s composition so it would not sound intrusive when played 21 Louis Armstrong s rendition of La Vie en rose was used for a montage where WALL E attempts to impress EVE on Earth The script also specified using Bing Crosby s Stardust for when the two robots dance around the Axiom 23 but Newman asked if he could score the scene himself A similar switch occurred for the sequence in which WALL E attempts to wake EVE up through various means originally the montage would play with the instrumental version of Raindrops Keep Fallin on My Head but Newman wanted to challenge himself and scored an original piece for the sequence 73 Themes EditThe film is recognized as a social criticism Katherine Ellison asserts that Americans produce nearly 400 million tons of solid waste per year but recycle less than a third of it according to a recent Columbia University study Landfills were filling up very rapidly worldwide and predictions were made that the UK could run out of landfill space by 2017 74 Environment waste and nostalgia Edit Further information Pollution In the DVD commentary Stanton said that he has been asked if it was his intention to make a movie about consumerism His answer was it was not it was a way to answer the question of how would the Earth get to the state where one robot would be left to continue the cleanup by itself Nevertheless some critics have noted an incongruity between the perceived pro environmental and anti consumerist messaging of the film and the environmental impacts in the production and merchandising of the film 75 In WALL E from environmental adaption to sentimental nostalgia Robin Murray and Joseph Heumann explain the important theme of nostalgia in this film Nostalgia is clearly represented by human artifacts left behind that WALL E collects and cherishes for example Zippo lighters hubcaps and plastic sporks These modern items that are used out of necessity are made sentimental through the lens of the bleak future of Earth Nostalgia is also expressed through the musical score as the film opens with a camera shot of outer space that slowly zooms into a waste filled Earth while playing Put on Your Sunday Clothes reflecting on simpler and happier times in human history This film also expresses nostalgia through the longing of nature and the natural world as it is the sight and feeling of soil and the plant brought back to the space ship by EVE that make the captain decide it is time for humans to move back to Earth WALL E expresses nostalgia also by reflecting on romantic themes of older Disney and silent films 6 Stanton describes the theme of the film as irrational love defeats life s programming 38 I realized the point I was trying to push with these two programmed robots was the desire for them to try and figure out what the point of living was It took these really irrational acts of love to sort of discover them against how they were built I realized that that s a perfect metaphor for real life We all fall into our habits our routines and our ruts consciously or unconsciously to avoid living To avoid having to do the messy part To avoid having relationships with other people or dealing with the person next to us That s why we can all get on our cell phones and not have to deal with one another I thought That s a perfect amplification of the whole point of the movie I wanted to run with science in a way that would sort of logically project that 38 Technology Edit Stanton noted many commentators placed emphasis on the environmental aspect of humanity s complacency in the film because that disconnection is going to be the cause indirectly of anything that happens in life that s bad for humanity or the planet 76 Stanton said that by taking away effort to work the robots also take away humanity s need to put effort into relationships 59 Christian journalist Rod Dreher saw technology as the complicated villain of the film The humans artificial lifestyle on the Axiom has separated them from nature making them slaves of both technology and their own base appetites and have lost what makes them human Dreher contrasted the hardworking dirt covered WALL E with the sleek clean robots on the ship However it is the humans and not the robots who make themselves redundant Humans on the ship and on Earth have overused robots and the ultra modern technology During the end credits humans and robots are shown working alongside each other to renew the Earth WALL E is not a Luddite film he said It doesn t demonize technology It only argues that technology is properly used to help humans cultivate their true nature that it must be subordinate to human flourishing and help move that along 77 Religion Edit nbsp The Axiom and EVE have been compared to the legend of Noah s Ark and the dove that Noah sets forth from the Ark Stanton who is a Christian 26 named EVE after the Biblical figure because WALL E s loneliness reminded him of Adam before God created his wife 78 Dreher noted EVE s biblical namesake and saw her directive as an inversion of that story EVE uses the plant to tell humanity to return to Earth and move away from the false god of BnL and the lazy lifestyle it offers In cohesion with the classical Christian viewpoint WALL E shows that work is what makes humans human Whereas other sources would say that laziness and pleasure is paradise WALL E tries to show that that is not true Dreher emphasized the false god parallels to BnL in a scene where a robot teaches infants B is for Buy n Large your very best friend which he compared to modern corporations such as McDonald s creating brand loyalty in children 77 Megan Basham of World magazine felt the film criticizes the pursuit of leisure whereas WALL E in his stewardship learns to truly appreciate God s creation 26 During writing a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah s Ark and the story was reworked with EVE finding a plant to return humanity from its voyage 79 WALL E himself has been compared to Prometheus 42 Sisyphus 77 and Butades in an essay discussing WALL E as representative of the artistic strive of Pixar itself Hrag Vartanian compared WALL E to Butades in a scene where the robot expresses his love for EVE by making a sculpture of her from spare parts The Ancient Greek tradition associates the birth of art with a Corinthian maiden who longing to preserve her lover s shadow traces it on the wall before he departed for war The myth reminds us that art was born out of longing and often means more for the creator than the muse In the same way Stanton and his Pixar team have told us a deeply personal story about their love of cinema and their vision for animation through the prism of all types of relationships 80 Release EditWALL E premiered at the Greek Theatre in Los Angeles on June 23 2008 81 Continuing a Pixar tradition the film was paired with a short film for its theatrical release Presto The film is dedicated to Justin Wright 1981 2008 a Pixar animator who had worked on Ratatouille and died of a heart attack before WALL E s release 21 Walt Disney Imagineering WDI built animatronic WALL Es to promote the picture which made appearances at Disneyland Resort 82 the Franklin Institute the Miami Science Museum the Seattle Center and the Tokyo International Film Festival 83 Due to safety concerns the 318 kg robots were always strictly controlled and WDI always needed to know exactly what they were required to interact with For this reason they generally refused to have their puppets meet and greet children at the theme parks in case a WALL E trod on a child s foot Those who wanted to take a photograph with the character had to make do with a cardboard cutout 84 The film was denied a theatrical release in China 85 In 2016 Jim Morris noted that the studio has no plans for a sequel as they consider WALL E a finished story with no need for continuation 86 Merchandise Edit Small quantities of merchandise were sold for WALL E as Cars items were still popular and many manufacturers were more interested in Speed Racer which was a successful product line despite the film s failure at the box office Thinkway which created the WALL E toys had previously made Toy Story dolls when other toy producers had not shown an interest 83 Among Thinkway s items were a WALL E that danced when connected to a music player a toy that could be taken apart and reassembled and a groundbreaking remote control toy of him and EVE that had motion sensors that allowed them to interact with players 87 There were even plushies 88 The Ultimate WALL E figures were not in stores until the film s home release in November 2008 83 at a retail price of almost 200 leading The Patriot News to deem it an item for hard core fans and collectors only 87 On February 4 2015 Lego announced that a WALL E custom built by lead animator Angus MacLane was the latest design approved for mass production and release as part of Lego Ideas 89 Home media Edit The film was released on Blu ray Disc and DVD by Walt Disney Studios Home Entertainment on November 18 2008 Various editions include the short film Presto another short film BURN E the Leslie Iwerks documentary film The Pixar Story shorts about the history of Buy n Large behind the scenes special features and a digital copy of the film that can be played through iTunes or Windows Media Player compatible devices 90 This release sold 9 042 054 DVD units 142 633 974 in total becoming the second best selling animated DVD among those released in 2008 in units sold behind Kung Fu Panda the best selling animated feature in sales revenue and the third best selling among all 2008 DVDs 91 WALL E was released in Japan in a limited edition Blu ray box set which included a book featuring artwork from the film a framed print and a remote control version of Wall E This edition is now discontinued WALL E was released by Disney on 4K Blu ray on March 3 2020 92 At the request of Stanton Disney licensed WALL E to The Criterion Collection in September 2022 who created a special 4K Blu ray Blu ray combo edition of the film that was released on November 22 2022 featuring the same 4K digital master used for Disney s original 4K Blu ray release but now presented in Dolby Vision and HDR10 as approved by Stanton along with additional special features This makes it both the first Pixar feature film and the eighth Walt Disney Pictures film to be released a under the Criterion label 93 In its description for the release Criterion viewed the film as an important work of both the animation medium and of cinema itself saying that while Transporting us simultaneously back to cinema s silent origins and light years into the future WALL E is a soaring ode to the power of love and art to heal a dying world 94 95 93 Reception EditBox office Edit WALL E grossed 223 8 million in the United States and Canada and 308 7 million overseas for a worldwide total of 532 5 million 3 making it the ninth highest grossing film of 2008 96 In the US and Canada WALL E opened in 3 992 theaters on June 27 2008 97 The film grossed 23 1 million on its opening day the highest of all nine Pixar titles to date 98 During its opening weekend it topped the box office with 63 087 526 97 This was the third best opening weekend for a Pixar film after Finding Nemo and The Incredibles and the second best opening weekend among films released in June behind Harry Potter and the Prisoner of Azkaban 98 The film grossed 38 million the following weekend losing its first place to Hancock 99 WALL E crossed the 200 million mark by August 3 during its sixth weekend 100 WALL E grossed over 10 million in Japan 44 005 222 UK Ireland and Malta 41 215 600 France and the Maghreb region 27 984 103 Germany 24 130 400 Mexico 17 679 805 Spain 14 973 097 Australia 14 165 390 Italy 12 210 993 and Russia and the CIS 11 694 482 101 Critical response Edit The American Film Institute named WALL E as one of the best films of 2008 102 the jury rationale states WALL E proves to this generation and beyond that the film medium s only true boundaries are the human imagination Writer director Andrew Stanton and his team have created a classic screen character from a metal trash compactor who rides to the rescue of a planet buried in the debris that embodies the broken promise of American life Not since Chaplin s Little Tramp has so much story so much emotion been conveyed without words When hope arrives in the form of a seedling the film blossoms into one of the great screen romances as two robots remind audiences of the beating heart in all of us that yearns for humanity and love in the darkest of landscapes On the review aggregator website Rotten Tomatoes 95 of 262 critics reviews are positive with an average rating of 8 6 10 The website s consensus reads Wall E s stellar visuals testify once again to Pixar s ingenuity while its charming star will captivate younger viewers and its timely story offers thought provoking subtext 103 At Metacritic which assigns a normalized rating to reviews from mainstream critics the film has an average score of 95 out of 100 based on 39 reviews indicating universal acclaim 104 Audiences polled by CinemaScore gave the film an average rating of A on an A to F scale 105 IndieWire named WALL E the third best film of the year based on their annual survey of 100 film critics while Movie City News shows that WALL E appeared in 162 different top 10 lists out of 286 different critics lists surveyed the most mentions on a top 10 list of any film released in 2008 106 Richard Corliss of Time named WALL E his favorite film of 2008 and later of the decade noting the film succeeded in connect ing with a huge audience despite the main characters lack of speech and emotional signifiers like a mouth eyebrows shoulders and elbows It evoke d the splendor of the movie past and he also compared WALL E and EVE s relationship to the chemistry of Spencer Tracy and Katharine Hepburn 107 Other critics who named WALL E their favorite film of 2008 included Tom Charity of CNN 108 Michael Phillips of the Chicago Tribune Lisa Schwarzbaum of Entertainment Weekly A O Scott of The New York Times Christopher Orr of The New Republic Ty Burr and Wesley Morris of The Boston Globe Joe Morgenstern of The Wall Street Journal and Anthony Lane of The New Yorker 109 Todd McCarthy of Variety called the film Pixar s ninth consecutive wonder saying it was imaginative yet straightforward He said it pushed the boundaries of animation by balancing esoteric ideas with more immediately accessible ones and that the main difference between the film and other science fiction projects rooted in an apocalypse was its optimism 110 Kirk Honeycutt of The Hollywood Reporter declared that WALL E surpassed the achievements of Pixar s previous eight features and probably their most original film to date He said it had the heart soul spirit and romance of the best silent films Honeycutt said the film s definitive stroke of brilliance was in using a mix of archive film footage and computer graphics to trigger WALL E s romantic leanings He praised Burtt s sound design saying If there is such a thing as an aural sleight of hand this is it 111 Roger Ebert of the Chicago Sun Times named WALL E an enthralling animated film a visual wonderment and a decent science fiction story and said the scarcity of dialogue would allow it to cross language barriers in a manner appropriate to the global theme and noted it would appeal to adults and children He praised the animation describing the color palette as bright and cheerful and a little bit realistic and that Pixar managed to generate a curious regard for the WALL E comparing his rusty and hard working and plucky design favorably to more obvious attempts at creating lovable lead characters He said WALL E was concerned with ideas rather than spectacle saying it would trigger stimulating little thoughts for the younger viewers 112 He named it as one of his twenty favorite films of 2008 and argued it was the best science fiction movie in years 113 The film was interpreted as tackling a topical ecologically minded agenda 103 though McCarthy said it did so with a lightness of touch that granted the viewer the ability to accept or ignore the message 110 Kyle Smith of the New York Post wrote that by depicting future humans as a flabby mass of peabrained idiots who are literally too fat to walk WALL E was darker and more cynical than any major Disney feature film he could recall He compared the humans to the patrons of Disney s theme parks and resorts adding I m also not sure I ve ever seen a major corporation spend so much money to issue an insult to its customers 114 Maura Judkis of U S News amp World Report questioned whether this depiction of frighteningly obese humans would resonate with children and make them prefer to play outside rather than in front of the computer to avoid a similar fate 115 A few notable critics have argued that the film is vastly overrated 116 claiming it failed to live up to such blinding high wattage enthusiasm 117 and that there were chasms of boredom watching it in particular the second and third acts spiraled into the expected 118 Other labels included preachy 116 and too long 117 Child reviews sent into CBBC were mixed some citing boredom and an inadequate storyline 119 Several conservative commentators criticized the film Shannen W Coffin of National Review said that WALL E is leftist propaganda about the evils of mankind Greg Pollowitz of National Review called the film a 90 minute lecture on the dangers of over consumption big corporations and the destruction of the environment Jonah Goldberg said that while the film was fascinating and at times brilliant he added that it is also Malthusian fear mongering Glenn Beck said that I can t wait to teach my kids how we ve destroyed the Earth Pixar is teaching I can t wait You know if your kid has ever come home and said Dad how come we use so much styrofoam oh this is the movie for you 120 121 Patrick J Ford of The American Conservative said WALL E s conservative critics missed lessons in the film that he felt appealed to traditional conservatism He argued that the mass consumerism in the film was not shown to be a product of big business but of too close a tie between big business and big government The government unilaterally provided its citizens with everything they needed and this lack of variety led to Earth s downfall Responding to Coffin s claim that the film points out the evils of mankind Ford argued the only evils depicted were those that resulted from losing touch with our own humanity and that fundamental conservative representations such as the farm the nuclear family unit and wholesome entertainment were seen as beautiful and desirable by the human characters He concluded By steering conservative families away from WALL E these commentators are doing their readers a great disservice 122 Director Terry Gilliam praised the film as A stunning bit of work The scenes on what was left of planet Earth are just so beautiful one of the great silent movies And the most stunning artwork It says more about ecology and society than any live action film all the people on their loungers floating around brilliant stuff Their social comment was so smart and right on the button 123 Archaeologists have commented on the themes of human evolution that the film explores 124 Ben Marwick has written how the character of WALL E resembles an archaeologist with his methodical collection and classification of quotidian human artefacts He is shown facing a typological dilemma of classifying a spork as either a fork or spoon and his nostalgic interest in the human past further demonstrated by his attachment to repeated viewings of the 1969 film Hello Dolly Marwick notes that the film features major human evolutionary transitions such as obligate bipedalism captain of the spaceship struggles with the autopilot to gain control of the vessel and the invention of agriculture as part of watershed moments in the story of the film According to Marwick one prominent message of the film appears to be that the envelopment by technology that the humans in Wall E experience paradoxically results in physical and cultural devolution Scholars such as Ian Tattersall and Steve Jones have similarly discussed scenarios where elements of modern technology such as medicine may have caused human evolution to slow or stop In 2021 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally historically or aesthetically significant 16 Accolades Edit Main article List of accolades received by WALL E WALL E won the Academy Award for Best Animated Feature and was nominated for Best Original Screenplay Best Original Score Best Original Song Sound Editing and Sound Mixing at the 81st Academy Awards 125 126 Walt Disney Pictures also pushed for an Academy Award for Best Picture nomination 127 but it was not nominated sparking controversy over whether the Academy deliberately restricted WALL E to the Best Animated Feature category 128 Film critic Peter Travers remarked If there was ever a time where an animated feature deserved to be nominated for best picture it s Wall E 129 Only three animated films 1991 s Beauty and the Beast and Pixar s next two films 2009 s Up and 2010 s Toy Story 3 have ever been nominated for the Academy Award for Best Picture A reflective Stanton stated he was not disappointed the film was restricted to the Best Animated Film nomination because he was overwhelmed by the film s positive reception and eventually The line between live action and animation is just getting so blurry that I think with each proceeding year it s going to be tougher and tougher to say what s an animated movie and what s not an animated movie 31 WALL E made a healthy appearance at the various 2008 end of the year awards circles particularly in the Best Picture category where animated films are often overlooked It has won the award or the equivalent of it from the Boston Society of Film Critics tied with Slumdog Millionaire 130 the Chicago Film Critics Association 131 the Central Ohio Film Critics awards 132 the Online Film Critics Society 133 and most notably the Los Angeles Film Critics Association where it became the first animated feature to win the prestigious award 134 It was named as one of 2008 s ten best films by the American Film Institute and the National Board of Review of Motion Pictures 135 136 It won Best Animated Feature Film at the 66th Golden Globe Awards 81st Academy Awards and the Broadcast Film Critics Association Awards 2008 137 138 It was nominated for several awards at the 2009 Annie Awards including Best Feature Film Animated Effects Character Animation Direction Production design Storyboarding and Voice acting for Ben Burtt citation needed but was beaten out by Kung Fu Panda in every category 139 It won Best Animated Feature at the 62nd British Academy Film Awards and was also nominated there for Best Music and Sound 140 Thomas Newman and Peter Gabriel won two Grammy Awards for Down to Earth and Define Dancing 141 It won all three awards it was nominated for by the Visual Effects Society Best Animation Best Character Animation for WALL E and EVE in the truck and Best Effects in the Animated Motion Picture categories 142 It became the first animated film to win Best Editing for a Comedy or Musical from the American Cinema Editors 143 In 2009 Stanton Reardon and Docter won the Nebula Award beating The Dark Knight and the Stargate Atlantis episode The Shrine 144 145 It won Best Animated Film and was nominated for Best Director at the Saturn Awards 146 At the British National Movie Awards which is voted for by the public it won Best Family Film 147 It was also voted Best Feature Film at the British Academy Children s Awards 148 WALL E was listed at No 63 on Empire s online poll of the 100 greatest movie characters conducted in 2008 149 In early 2010 Time ranked WALL E No 1 in Best Movies of the Decade 150 In Sight amp Sound magazine s 2012 poll of the greatest films of all time WALL E is the second highest ranking animated film behind My Neighbor Totoro 1988 while tying with the film Spirited Away 2001 at 202nd overall 151 In a 2016 BBC poll of international critics it was voted the 29th greatest film since 2000 152 Robotic recreations EditIn 2012 Mike McMaster 153 an American robotics hobbyist began working on his own model of WALL E The final product was built with more moving parts than the WALL E which roams around Disneyland McMaster s four foot robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested com 154 a project headed up by Jamie Hyneman and Adam Savage of MythBusters Since WALL E s creation Mike and the popular robot have made dozens of appearances at various events 155 In the same year Mike Senna completed his own WALL E build 156 He also created an EVE They were present at a photo op at Disney s D23 Expo 2015 157 See also EditRobots 2005 film Mars Cube One consisting of two nanospacecraft MarCO A and MarCO B which are nicknamed WALL E and EVENotes Edit Disney has licensed films from the Hollywood Pictures and Touchstone Pictures library to Criterion since the 1990s most notably the films of Wes Anderson and Michael Bay References Edit WALL E American Film Institute Archived from the original on December 22 2020 Retrieved March 11 2019 Brooks Barnes June 1 2008 Disney and Pixar The Power of the Prenup The New York Times Archived from the original on January 29 2019 Retrieved January 12 2009 a b WALL E 2008 Box Office Mojo Archived from the original on August 6 2010 Retrieved December 30 2020 WALL E The Numbers Archived from the original on November 23 2018 Retrieved December 1 2017 Wall E Review One of the Best Sci Fi Movies in Years Disguised as a Cartoon gizmodo com June 27 2008 Archived from the original on July 1 2020 Retrieved May 22 2020 a b Murray Robin L Heumann Joseph K Spring 2009 WALL E From Environmental Adaptation to Sentimental Nostalgia Jump Cut A Review of Contemporary Media No 51 Archived from the original on October 21 2012 Retrieved November 16 2012 WALL E No 15 best romantic film of all time The Guardian October 16 2010 Archived from the original on December 10 2020 Retrieved September 20 2020 Hodgson Claire April 27 2014 Why Pixar s WALL E is the greatest love story ever told in 11 heart warming GIFs mirror Archived from the original on April 24 2021 Retrieved September 20 2020 2009 Hugo Awards The Hugo Awards Archived from the original on May 7 2011 Retrieved April 22 2010 Nebula Award winners for 2008 announced LOCUS Archived from the original on June 5 2011 Retrieved September 4 2012 Best of 2008 Criticstop10 com January 7 2013 Archived from the original on August 19 2018 Retrieved November 26 2018 Top 100 Animation Movies Rotten Tomatoes www rottentomatoes com Archived from the original on June 9 2021 Retrieved November 3 2020 40 Greatest Animated Movies Ever Rolling Stone October 13 2019 Archived from the original on September 23 2023 Retrieved December 15 2021 The 25 All TIME Best Animated Films Archived from the original on September 26 2021 Retrieved December 15 2021 Best animated films of all time according to critics Archived from the original on September 23 2023 Retrieved December 15 2021 a b Tartaglione Nancy December 14 2021 National Film Registry Adds Return Of The Jedi Fellowship Of The Ring Strangers On A Train Sounder WALL E amp More Deadline Hollywood Archived from the original on July 2 2022 Retrieved December 14 2021 Clark Mitchell September 10 2022 WALL E is rolling his way into the Criterion Collection The Verge Archived from the original on September 23 2023 Retrieved January 4 2023 WALL E The Criterion Collection Archived from the original on January 4 2023 Retrieved January 4 2023 Narine Anil 2015 Love in the Times of Ecocide Environmental Trauma and Comic Relief in Andrew Stanton s WALL E Eco trauma cinema Routledge advances in film studies New York London Routledge Taylor amp Francis group ISBN 978 1 138 79139 8 a b Corliss Richard June 12 2008 WALL E Pixar s Biggest Gamble Time ISSN 0040 781X Archived from the original on October 2 2017 Retrieved September 23 2017 a b c d e f g h i j k l m n o p q r s t u v w x Production notes PDF Walt Disney Pictures Archived from the original PDF on July 11 2011 Retrieved July 19 2008 a b DVD Scene 16 Captain on Deck Audio commentary by Director Andrew Stanton 52 01 52 09 a b WALL E screenplay PDF Disney Archived from the original PDF on March 6 2009 Retrieved June 1 2009 a b c d e f g h Bill Desowitz April 7 2008 Stanton Powers Up WALL E Animation World Network Archived from the original on March 1 2009 Retrieved November 23 2008 a b c d e f g Tasha Robinson June 26 2008 Andrew Stanton The A V Club Archived from the original on September 8 2008 Retrieved November 3 2008 a b c Megan Basham June 28 2008 WALL E world World Archived from the original on July 3 2008 Retrieved February 19 2009 Jamie Portman June 25 2008 The last robot left has to put out the trash The Vancouver Sun Archived from the original on July 2 2008 Retrieved July 21 2008 a b c d Andrew Stanton Wall E Q amp A QuickTime audio Creative Screenwriting December 16 2008 Archived from the original on May 11 2011 Retrieved January 4 2009 a b James White April 2008 How We Made WALL E Total Film pp 113 116 Hauser p 11 a b Sarah Ball January 23 2009 Mr Oscar Tear Down This Wall Andrew Stanton on How Animated Films are Pigeonholed and How Wall E Is Every Man Newsweek Archived from the original on February 4 2009 Retrieved January 26 2009 a b c Marco R della Cava June 24 2008 WALL E focuses on its hero s heart USA Today Archived from the original on August 20 2011 Retrieved July 21 2008 Alex Billington June 23 2008 Interview Wall E s Writer and Director Andrew Stanton FirstShowing net Archived from the original on May 15 2010 Retrieved November 22 2008 Title Animation Test 2008 DVD Walt Disney Studios Home Entertainment James Hicks December 9 2008 The Science of Wall E Archived from the original on February 8 2015 Retrieved February 7 2015 James Hicks Ecology amp evolutionary biology professor Today UCI July 23 2008 Archived from the original on July 26 2008 Retrieved January 14 2009 a b c d Deleted scenes with introductions by Andrew Stanton 2008 DVD Walt Disney Studios Home Entertainment a b c d e f Steve Fritz July 4 2008 How Andrew Stanton amp Pixar Created WALL E Part II Newsarama Archived from the original on November 22 2008 Retrieved November 4 2008 a b c d Captain s Log The Evolution of Humans 2008 DVD featurette Walt Disney Studios Home Entertainment DVD Scene 16 Captain on Deck Audio commentary by Director Andrew Stanton 48 56 50 37 a b c d Steve Capone Prokopy June 24 2008 Andrew Stanton Gives Up the Goods on WALL E and JOHN CARTER to Capone Ain t It Cool News Archived from the original on December 19 2008 Retrieved November 22 2008 a b c Joshua Starnes June 13 2008 WALL E Writer Director Andrew Stanton ComingSoon net Archived from the original on August 17 2008 Retrieved November 22 2008 Second Act Twist The New Yorker Archived from the original on February 8 2023 Retrieved February 8 2023 Joanna Cohen September 17 2008 Andrew Stanton and Ben Burtt talk WALL E Rotten Tomatoes Archived from the original on March 11 2009 Retrieved November 27 2008 Derek Thompson July 17 2008 The Storyboards of WALL E Rotten Tomatoes Archived from the original on March 1 2009 Retrieved November 27 2008 Hauser p 39 Hauser p 71 a b c d e Ron Barbagallo January 2009 Design With a Purpose An interview with Ralph Eggleston Animation Art Conservation Archived from the original on April 14 2010 Retrieved February 12 2009 Steven Horn amp Eric Moro April 7 2008 Wall E Preview IGN Archived from the original on April 12 2008 Retrieved November 23 2008 Bill Desowitz June 27 2008 Hello WALL E Pixar Reaches for the Stars Animation World Network Archived from the original Printable version on July 20 2009 Retrieved February 14 2009 a b Joe Utichi July 16 2008 The World of WALL E Rotten Tomatoes Archived from the original on December 1 2008 Retrieved November 27 2008 a b Sheila Roberts Andrew Stanton Interview WALL E MoviesOnline Archived from the original on June 26 2008 Retrieved January 12 2008 Steve Fritz July 1 2008 How Andrew Stanton amp Pixar Created WALL E Part I Newsarama Archived from the original on May 20 2011 Retrieved November 4 2008 a b c d e WALL E and EVE 2008 DVD Walt Disney Studios Home Entertainment Peter Hartlaub June 25 2008 Planet WALL E San Francisco Chronicle Archived from the original on March 15 2012 Retrieved November 3 2008 a b c d Joe Strike June 22 2008 WALL E is a real character Daily News New York Archived from the original on March 10 2010 Retrieved July 19 2008 Peter Debruge June 18 2008 How to build a better robot Variety Archived from the original on November 7 2015 Richard Newby June 27 2018 Wall E References That Need to Be Revisited The Hollywood Reporter Archived from the original on April 15 2021 Retrieved December 28 2020 a b Robo everything 2008 DVD featurette Walt Disney Studios Home Entertainment Hauser p 132 Tom Russo June 30 2008 Ben Burtt The man behind R2 D2 and Wall E s beeps Los Angeles Times Archived from the original on May 11 2011 Retrieved November 3 2008 Bob Thompson July 3 2008 Bet on Burtt to get the right Wall E sounds National Post Archived from the original on July 22 2011 Retrieved November 3 2008 Voice of WALL E Robot sounds toddler inspired The Arizona Republic Associated Press June 28 2008 Archived from the original on August 3 2021 Retrieved November 3 2008 a b c d e Animation Sound Design Building Worlds From The Sound Up featurette 2008 DVD featurette Walt Disney Studios Home Entertainment Q amp A With WALL E s Ben Burtt Pixar Planet November 13 2008 Archived from the original on July 22 2015 Retrieved January 12 2009 a b List of a Shot Deconstructing the Pixar Process 2008 DVD featurette Walt Disney Studios Home Entertainment Ben Burtt July 18 2008 WALL E Sound Masterclass Rotten Tomatoes Archived from the original on March 5 2009 Retrieved November 27 2008 Peter Hartlaub June 29 2008 All Ears on WALL E San Francisco Chronicle Archived from the original on March 15 2012 Retrieved November 3 2008 ScoreKeeper Chats With Composer Thomas Newman Ain t It Cool News September 16 2008 Archived from the original on September 19 2008 Retrieved September 17 2008 Daniel Schweiger January 19 2009 E notes Thomas Newman gives a chilling workout in Revolutionary Road and some robotic impulses in WALL E iF Magazine Archived from the original on January 2 2010 Retrieved January 20 2009 a b Chriss Willman July 10 2008 WALL E Meets Dolly Entertainment Weekly Archived from the original on January 20 2018 Retrieved January 17 2018 Best Animated Feature Film Acceptance Speech Oscar com Archived from the original on February 26 2009 Retrieved January 17 2018 Andrew Stanton s Blu ray and DVD audio commentary 2008 Walt Disney Home Entertainment Ellison Katherine October 2008 Talking Trash Frontiers in Ecology and the Environment 6 8 456 doi 10 1890 1540 9295 2008 6 456 TT 2 0 CO 2 JSTOR 20440969 Wall E 2008 and the Ecological Footprint of Animation Production Archived from the original on January 29 2019 Retrieved January 29 2019 Jonathan L Ecuyer February 23 2009 An Oscar shout out Gloucester Daily Times Archived from the original on May 27 2012 Retrieved March 3 2009 a b c Rod Dreher July 5 2008 Wall E Aristotelian crunchy con Beliefnet Archived from the original on July 8 2008 Retrieved January 15 2009 a href Template Cite web html title Template Cite web cite web a CS1 maint unfit URL link Mark Moring June 24 2008 The Little Robot That Could Christianity Today Archived from the original on July 31 2008 Retrieved November 26 2008 Hauser p 83 Hrag Vartanian October 21 2008 Wall E as a Return to the Promise of Animation His blog Archived from the original on July 12 2011 Retrieved February 19 2009 Disney Pixar s WALL E World Premiere Saturday June 21 at the Greek Theatre Reuters June 20 2008 Archived from the original on March 4 2009 Retrieved January 12 2009 Peter Sciretta May 14 2008 Animatronic WALL E Spotted in LA Film Archived from the original on May 27 2012 Retrieved November 4 2008 a b c Jim Hill June 18 2008 When it comes to the retail world Speed Racer whomps WALL E Jim Hill Media Archived from the original on March 12 2009 Retrieved November 4 2008 Jim Hill February 6 2009 Why For isn t WALL E rolling around the Disney theme parks yet Jim Hill Media Archived from the original on March 12 2009 Retrieved February 7 2009 Zhou Zhao June 27 2008 机器人总动员 无缘内地 木乃伊 档期待定 Wall E not allowed to be screened in China Theatrical release for Mummy yet to be confirmed Sina com via Xinwen Wubao Archived from the original on January 18 2017 Retrieved January 16 2017 Why WALL E 2 Won t Happen According To Pixar CINEMABLEND July 2 2016 Archived from the original on December 9 2019 Retrieved December 9 2019 a b Kira L Schleiter June 22 2008 Off the wall gimmicks keep Wall E in view The Patriot News Archived from the original on March 1 2009 Retrieved July 19 2008 Peter Sciretta May 24 2008 Cool Stuff Thinkway s WALL E Toys Film Archived from the original on May 27 2012 Retrieved January 13 2009 Lego Ideas February 4 2015 LEGO Ideas Second 2014 Review Results Announcing LEGO Ideas 011 and 012 Archived from the original on June 4 2016 Retrieved July 2 2015 Peter Sciretta October 31 2008 3 Disc Special Edition of WALL E Film Archived from the original on January 4 2013 Retrieved January 22 2009 WALL E The Numbers Archived from the original on September 3 2011 Retrieved April 19 2011 Heller Emily March 3 2020 A bunch of Pixar movies including Up and A Bug s Life come to 4K Blu ray Polygon Archived from the original on March 4 2020 Retrieved April 22 2021 a b Ebiri Bilge November 23 2022 Andrew Stanton Remembers When Nobody Wanted to Make Wall E New York Archived from the original on November 22 2022 Retrieved November 22 2022 WALL E 2008 The Criterion Collection criterion com Retrieved September 8 2022 Spangler Todd September 8 2022 Wall E to Get 4K Blu ray Release From Criterion Variety Archived from the original on September 8 2022 Retrieved September 8 2022 2008 Worldwide Box Office Box Office Mojo Archived from the original on August 3 2021 Retrieved August 3 2021 a b WALL E 2008 Weekend Box Office Results Box Office Mojo Archived from the original on December 17 2008 Retrieved June 29 2008 a b Nikki Finke June 27 2008 Filmgoers Wild For Wall E And Wanted Angelina Jolie Posts Best Opening Ever Lonely Droid Debut Is Pixar s 3rd Biggest Deadline Hollywood Archived from the original on April 15 2021 Retrieved December 30 2020 Nikki Finke July 2 2008 Will Smith s Hancock Ups Its Fast Pace Dramedy Speeds To 60 1M In 3 5 Days Predicted 105M High For July 4th Wkd Deadline Hollywood Archived from the original on April 15 2021 Retrieved December 30 2020 McClintock Pamela August 3 2008 Dark Knight narrowly slays Dragon Variety Archived from the original on February 28 2009 Retrieved December 19 2008 WALL E 2008 International Box Office Results Box Office Mojo Archived from the original on May 14 2011 Retrieved February 13 2011 AFI Awards 2008 American Film Institute Archived from the original on March 16 2015 Retrieved December 31 2015 a b WALL E Rotten Tomatoes Fandango Archived from the original on June 29 2023 Retrieved August 17 2023 nbsp WALL E Reviews Metacritic Archived from the original on August 17 2023 Retrieved July 28 2017 Rich Joshua June 29 2008 WALL E beeps and bops to the bank Entertainment Weekly Archived from the original on June 14 2022 Retrieved June 14 2022 David Poland 2008 The 2008 Movie City News Top Ten Awards Archived from the original on February 6 2009 Retrieved January 13 2009 Richard Corliss December 9 2008 Top 10 Movies Time Archived from the original on April 30 2017 Retrieved July 28 2017 Tom Charity December 31 2008 The best and worst films of 2008 CNN Archived from the original on March 4 2009 Retrieved January 8 2009 Metacritic 2008 Film Critic Top Ten Lists Metacritic Archived from the original on February 24 2010 Retrieved December 30 2008 a b Todd McCarthy June 26 2008 WALL E Review Variety Archived from the original on August 5 2008 Retrieved June 26 2008 Kirk Honeycutt June 25 2008 WALL E The Hollywood Reporter Archived from the original on June 30 2008 Retrieved June 26 2008 Roger Ebert June 26 2008 WALL E review Chicago Sun Times Archived from the original on December 27 2012 Retrieved June 30 2008 Roger Ebert December 5 2008 The best films of 2008 and there were a lot of them Chicago Sun Times Archived from the original on April 23 2013 Retrieved December 9 2008 Kyle Smith June 26 2008 Disney s Wall E A 170 Million Art Film kylesmithonline com Archived from the original on May 11 2011 Retrieved July 1 2008 Maura Judkis June 30 2008 Will WALL E Make Us Greener U S News amp World Report Archived from the original on July 3 2008 Retrieved July 2 2008 a b Daniel Treiman July 10 2008 Thumbs Up for Wall E Ed Kooch Dissents The Jewish Daily Forward Archived from the original on December 17 2009 Retrieved October 6 2009 a b Everyday tale of droid meets probe Financial Times July 17 2008 Archived from the original on August 24 2008 Retrieved April 22 2010 Matthew Odam July 25 2008 Is Wall E overrated Austin American Statesman blogs Archived from the original on May 13 2011 Retrieved October 6 2009 Film review WALL E CBBC October 1 2008 Archived from the original on May 11 2011 Retrieved October 6 2009 Frick Ali July 1 2008 Right Wing Apoplectic Over Pixar s WALL E Malthusian Fear Mongering Fascistic Elements ThinkProgress Archived from the original on January 27 2022 Retrieved August 7 2023 Suellentrop Chris June 30 2008 Another Brick in the WALL E The New York Times Opinionator Archived from the original on September 23 2023 Retrieved August 7 2023 Patrick J Ford June 30 2008 WALL E s Conservative Critics The American Conservative Archived from the original on May 14 2011 Retrieved July 2 2008 Time Out s 50 greatest animated films part 2 Archived October 11 2009 at the Wayback Machine Time Out London Ben Marwick 2010 Self image the long view and archaeological engagement with film an animated case study PDF World Archaeology 42 3 394 404 doi 10 1080 00438243 2010 497386 S2CID 8949124 Archived PDF from the original on October 24 2016 Retrieved September 18 2016 The 81st Academy Awards 2009 Nominees and Winners Academy of Motion Picture Arts and Sciences Archived from the original on October 6 2014 Retrieved November 22 2011 Oscars 2009 The nominees BBC News January 22 2009 Archived from the original on February 15 2009 Retrieved January 22 2009 Michael Cieply Brooks Barnes October 27 2008 Studios Are Pushing Box Office Winners as Oscar Contenders The New York Times Archived from the original on May 12 2011 Retrieved October 28 2008 Bandyk Matthew January 22 2009 Academy Awards Controversy Wall E Gets Snubbed For Best Picture Oscar U S News amp World Report Archived from the original on July 17 2011 Retrieved January 22 2009 Academy accused of snubbing Dark Knight Wall E ABC News January 22 2009 Archived from the original on March 2 2010 Retrieved January 22 2009 Peter Sciretta December 14 2008 AFI s Top 10 Movies of 2008 Boston Critics Name WALL E and SlumDog Best Picture film Archived from the original on December 16 2008 Retrieved December 15 2008 Chicago Film Critics Association December 18 2008 WALL E Cleans Up Chicago Film Critics Awards Archived from the original on May 10 2011 Retrieved December 18 2008 Frank Gabrenya January 10 2009 WALL E picks up top honors The Columbus Dispatch Online film critics back Wall E BBC News January 20 2009 Archived from the original on February 14 2009 Retrieved January 20 2009 Justin Chang December 9 2008 L A critics wired for WALL E Variety Archived from the original on December 9 2009 Retrieved December 9 2008 Hayes Dade December 14 2008 NBR names Slumdog best of year Variety Archived from the original on October 25 2012 Retrieved January 13 2009 AFI Awards 2008 American Film Institute Archived from the original on September 3 2011 Retrieved January 12 2009 HFPA Nominations and Winners Goldenglobes org Archived from the original on March 3 2009 Retrieved January 13 2009 Dade Hayes December 9 2008 Critics Choice favors Milk Button Variety Archived from the original on December 19 2008 Retrieved December 9 2008 Pete DeBruge January 30 2009 Kung Fu Panda rules Annie Awards Variety Retrieved January 31 2009 Emily Phillips February 8 2009 Slumdog Bags The BAFTAs Empire Archived from the original on January 19 2012 Retrieved February 8 2009 51st Grammy Awards National Academy of Recording Arts and Sciences Archived from the original on February 7 2009 Retrieved February 9 2009 Thomas J McLean February 22 2009 Button WALL E Dominate VES Awards Animation Magazine Archived from the original on June 12 2010 Retrieved February 23 2009 59th Annual ACE Eddie Awards American Cinema Editors Archived from the original on June 6 2009 Retrieved February 16 2009 2008 Nebula Award Ballot Nebula Award Archived from the original on March 4 2009 Retrieved March 3 2009 Silver Steven H April 26 2009 Nebula Winners SF Site News SF Site Archived from the original on May 15 2011 Retrieved April 27 2009 Nominations for the 35th Annual Saturn Awards Academy of Science Fiction Fantasy amp Horror Films Archived from the original on February 21 2012 Retrieved March 17 2009 National Movie Awards Archived from the original on August 22 2008 Retrieved January 12 2009 Children s Awards Winners Children s Awards The BAFTA site Bafta org Archived from the original on August 1 2012 Retrieved January 8 2009 The 100 Greatest Movie Characters Empire Archived from the original on September 6 2011 Retrieved January 12 2009 Corliss Richard December 29 2009 WALL E 2008 Best Movies TV Books and Theater of the Decade Time Archived from the original on July 19 2017 Retrieved July 28 2017 Sight amp Sound 2012 critics top 250 films BFI British Film Institute Archived from the original on October 26 2013 Retrieved January 1 2016 The 21st Century s 100 greatest films BBC August 23 2016 Archived from the original on January 31 2017 Retrieved October 19 2017 Hernandez Patricia August 5 2013 I Can t Believe How Human This Wall E Robot Seems Kotaku Archived from the original on October 12 2013 Retrieved October 11 2013 Palermo Elizabeth September 2 2013 Pixar s Wall E Brought to Life by California Farmer Tom s Guide Archived from the original on October 12 2013 Retrieved October 11 2013 Mike Senna s Wall E Project ActuatorZone September 17 2013 Archived from the original on October 12 2013 Retrieved October 11 2013 Busis Hillary August 3 2012 An interview with Mike Senna builder of a real life Wall E Entertainment Weekly Archived from the original on August 9 2016 Retrieved May 19 2016 D23 EXPO WALL E and EVE Interactive Photo Op Sneak Peek Stitch Kingdom August 12 2015 Archived from the original on August 15 2015 Retrieved May 19 2016 Bibliography EditHauser Tim 2008 The Art of WALL E San Francisco Chronicle Books ISBN 978 0 8118 6235 6 OCLC 377889575 Mattie Sean Winter 2014 WALL E on the Problem of Technology Perspectives on Political Science 43 1 12 20 doi 10 1080 10457097 2013 784576 ISSN 1045 7097 S2CID 144206190 External links EditWALL E at Wikipedia s sister projects nbsp Media from Commons nbsp Quotations from Wikiquote nbsp Data from Wikidata Official website WALL E at IMDb WALL E at the TCM Movie Database WALL E at The Big Cartoon DataBase WALL E at AllMovie Portals nbsp Disney nbsp Cartoon nbsp Animation nbsp Film nbsp United States Retrieved from https en wikipedia org w index php title WALL E amp oldid 1179135520, wikipedia, wiki, book, books, library,

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