From Wikipedia, the free encyclopedia
WALL-E (stylized with an
interpunct as
WALL·E) is a 2008 American
computer-animated science-fiction comedy film produced by
Pixar Animation Studios and released by
Walt Disney Pictures. Directed by
Andrew Stanton, the story follows a robot named WALL-E, who is designed to clean up an abandoned,
waste-covered
Earth far in the future. He falls in love with another robot named EVE,
who also has a programmed task, and follows her into
outer space on an adventure that changes the destiny of both his kind and humanity. Both robots exhibit an appearance of
free will and
emotions similar to humans, which develop further as the film progresses.
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 do not have voices, but instead communicate with
body language and robotic sounds, which were designed by
Ben Burtt. It is also Pixar's first animated feature with segments featuring live-action characters.
WALL-E was released in the United States and Canada on June
27, 2008. It grossed $23.2 million on its opening day, and $63.1 million
during its opening weekend in 3,992 theaters, ranking number one at the
box office. This ranks as the fifth highest-grossing opening weekend
for a Pixar film. Following Pixar tradition,
WALL-E was paired with a short film,
Presto, for its theatrical release.
WALL-E was met with critical acclaim, scoring an approval rating of 96% on the review aggregator
Rotten Tomatoes. It grossed $521.3 million worldwide, won the 2008
Golden Globe Award for Best Animated Feature Film, the 2009
Hugo Award for Best Dramatic Presentation, Long Form,
[3] the final
Nebula Award for Best Script,
[4] the
Saturn Award for Best Animated Film, and the
Academy Award for Best Animated Feature as well as being nominated for five other
Academy Awards at the
81st Academy Awards.
WALL-E ranks first in
TIME 's "Best Movies of the Decade".
[5] The film is seen as a critique on larger societal issues. It addresses
consumerism,
corporatism, nostalgia, environmental problems,
waste management,
human impact on the environment, and
risks to human civilization and the planet Earth.
[6]
Plot
In 2805, Earth is covered in heaps of garbage due to decades of mass
consumerism facilitated by the
megacorporation Buy 'n' Large ("BnL"). In 2105, BnL evacuated Earth's population in fully automated starliners, leaving behind WALL-E
trash compactor robots to clean the planet. Eventually BnL abandons its plan and shuts down the WALL-E robots, except for one which develops
sentience after 700 years of life-experience. He manages to remain active by repairing himself using parts from other units.
One day, WALL-E discovers a growing
seedling. Later, a spaceship lands and deploys EVE, an advanced robot probe sent from the BnL
starliner Axiom
to search for vegetation on Earth. WALL-E falls in love with the
initially cold and hostile EVE, who gradually softens and befriends him.
When WALL-E brings EVE to his home and shows her his collection, she
sees the plant, automatically stores it inside herself, and goes into
standby mode
waiting for her ship to retrieve her. WALL-E, not understanding why EVE
seems to have shut down, tries numerous methods to reactivate her. When
EVE's automated ship returns and collects EVE, WALL-E clings to its
hull and thus travels through space to the
Axiom, which is hidden behind a
nebula.
On the
Axiom, the descendants of the ship's original passengers have become
morbidly obese after centuries of
microgravity
effects and relying on the ship's automated systems for their every
need. The ship's current captain, McCrea, leaves most of the ship's
operations under the control of its robotic
autopilot, Auto.
WALL-E follows EVE to the bridge of the
Axiom, where the Captain learns that by putting the plant in the ship's holo-detector to verify Earth's habitability, the
Axiom will make a
hyperjump
back to Earth so the passengers can recolonize it. However, Auto orders
McCrea's robotic assistant GO-4 to steal the plant as part of his own
no return directive "
A113", which was issued to all BnL autopilots after the corporation concluded in 2110 that the planet could not be saved.
With the plant missing, EVE is considered
defective
and taken to the repair ward along with WALL-E (for cleaning). WALL-E
mistakes the process on EVE for torture and tries to save her,
accidentally releasing a horde of malfunctioning robots that had been
quarantined. The on-board security systems then designate both WALL-E
and EVE as "rogue robots". Fed up with WALL-E's disruptions, EVE takes
him to the
escape pod
bay to send him home, but they witness GO-4 dispose of the missing
plant by placing it inside a pod which is set to self-destruct. WALL-E
enters the pod to retrieve the plant, but GO-4
jettisons the pod into
space. WALL-E escapes with the plant before the pod explodes, using a fire extinguisher to propel himself back toward the
Axiom, where he and EVE reconcile and celebrate with a dance in space.
When the plant is brought to the captain, EVE's recordings of Earth
are analyzed and the captain concludes that mankind must return to
restore their planet. However, Auto reveals his directive and stages a
mutiny.
When WALL-E tries to protect the plant, Auto electrocutes him, severely
damaging him. EVE realizes the only parts for repairing WALL-E are in
his truck back on Earth. She helps him bring the plant to the
holo-detector to activate the ship's hyperjump. McCrea opens the
holo-detector and fights Auto for control of the ship. Auto partially
crushes WALL-E by closing the holo-detector on him, but McCrea finally
disables him. EVE places the plant in the holo-detector, freeing WALL-E
and instantly setting the
Axiom to hyperjump to Earth.
EVE rushes WALL-E back to his home where she repairs and reactivates
him, but he no longer recognizes her, having reverted to his original
programming as an emotionless waste compactor, and he begins crushing
the artifacts he had collected in his truck. Heartbroken, EVE follows
WALL-E outside, stops him and gives him a farewell kiss, which jolts his
memory and restores his personality. WALL-E and EVE happily reunite as
the humans and robots of the
Axiom begin to restore Earth and its environment.
Cast and characters
- Ben Burtt produced the voice of WALL-E (Waste Allocation Load Lifter – Earth-class), the title character.
WALL-E, a robot who has developed sentience, is the only robot of his
kind shown to be still functioning on Earth. He is a small mobile
compactor box with all-terrain treads, three-fingered shovel hands,
binocular eyes, and retractable solar cells for power. He collects spare
parts for himself, which becomes pivotal to the plot, and replaces
broken and/or worn out parts on-the-fly by cannibalizing
other defunct WALL-Es. Although working diligently to fulfill his
directive to clean up the garbage (all the while accompanied by his
cockroach friend Hal and music playing from his on-board recorder) he is
distracted by his curiosity, collecting trinkets of interest. He stores
and displays these "treasures" such as a birdcage full of rubber ducks, a Rubik's Cube, Zippo lighters, disposable cups filled with plastic cutlery and a golden trophy at his home where he examines and categorizes his finds while watching video cassettes of musicals via an iPod viewed through a large Fresnel lens.
- Burtt is also credited for the voice of M-O (Microbe Obliterator),
as well as most of the other robots. M-O is a tiny, obsessively clean
maintenance robot with rollers for hands who keeps Axiom clean.
- Elissa Knight
as EVE (Extraterrestrial Vegetation Evaluator), a sleek robot probe
whose directive is to locate vegetation on Earth and verify
habitability. She has a glossy white egg-shaped body and blue LED eyes. She moves using antigravity technology and is equipped with scanners, specimen storage and a plasma cannon in her arm, which she is quick to use.
- Jeff Garlin as Captain B. McCrea, the commander, and apparently only officer, on the Axiom. His duties as captain are daily routines, with the ship's autopilot handling all true command functions.
- Fred Willard as Shelby Forthright, historical CEO of the Buy n Large Corporation, shown only in videos recorded around the time of the Axiom
's initial launch. Constantly optimistic, Forthright proposed the
evacuation plans, then to clean up and recolonize the planet. However,
the corporation gave up after realizing how toxic Earth had become.
Forthright is the only live action character with a speaking role, the
first in any Pixar film.
- MacInTalk, the text-to-speech program for the Apple Macintosh, was used for the voice of Auto, the rogue autopilot artificial intelligence built into the ship. Unlike other robots in the film, Auto is not influenced by WALL-E, instead following directive A113, which is to prevent the Axiom and the humans from returning to Earth because of the toxicity, and he works to prevent anyone from deviating from it.
- John Ratzenberger and Kathy Najimy as John and Mary, respectively. John and Mary both live on the Axiom
and are so dependent on their personal video screens and automatic
services that they are oblivious to their surroundings, for instance not
noticing that the ship features a giant swimming pool. However, they
are brought out of their trances after separate encounters with WALL-E,
eventually meeting face-to-face for the first time.
- Sigourney Weaver as the voice of the Axiom 's computer. Stanton joked about the role with Weaver, saying, "You realize you get to be 'Mother' now?"[7][8] referring to the name of the ship's computer in the film Alien, which also starred Weaver.[8]
Production
Writing
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
[9]
Andrew Stanton conceived
WALL-E during a lunch with fellow writers
John Lasseter,
Pete Docter, and
Joe Ranft in 1994.
Toy Story was nearing 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?"
[7] 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.
[10][11] 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.
[12] Stanton also liked the imagery of stacked cubes of garbage.
[13] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.
[14]
Stanton and Pete 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.
[15][16]
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.
[17]
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.
[14] Stanton started writing
WALL-E again in 2002 while completing
Finding Nemo.
[18] 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.
[11] 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,
[19] though Jobs stated he did not like the title, originally spelled "
W.A.L.-E."
[20]
While the first act of
WALL-E "fell out of the sky" for Stanton,
[14] 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.
[7][21][22] Therefore, this was the inspiration of the humans degenerating into the alien Gels,
[23] and their ancestry would have been revealed in a
Planet of the Apes-style ending.
[24]
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.
[25] 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.
[25] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".
[24] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",
[24][26] wanting WALL-E and EVE's relationship to inspire humanity because he felt few films explore how
utopian societies come to exist.
[27]
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.
[25]
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,
[28]
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 been unempathetic.
[23]
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 assumes real command of the
Axiom.
[25]
Originally, EVE would have been electrocuted by Auto, and then be
quickly saved from ejection at the hands of the 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. 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.
[23]
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 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.
[29]
Design
WALL-E was the most complex Pixar production since
Monsters, Inc. because of the world and the history that had to be conveyed.
[10] Whereas most Pixar films have up to 75,000
storyboards,
WALL-E required 125,000.
[30] 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.
[7] 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.
[31][32]
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.
[33]
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 felt Pixar had captured the
physics of being underwater with
Finding Nemo, so for
WALL-E
he wanted to push that for air. It was while rewatching some of his
favorite science fiction films he realized Pixar's films lacked the look
of
70 mm film and its barrel
distortion,
lens flare and
racking focus.
[10] 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.
[27] 1970s
Panavision cameras
were used to help the animators understand and replicate handheld
imperfections like unfocused backgrounds in digital environments.
[7]
The first lighting test consisted of building a three-dimensional
replica of WALL-E, filming it with a 70 mm camera, and then trying to
replicate that in the computer.
[34] 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.
[14]
Stanton wanted the
Axiom 's interior to resemble Shanghai and
Dubai.
[10] Eggleston studied 1960s NASA paintings and the original concept art for
Tomorrowland for the
Axiom, to reflect that era's sense of optimism.
[7]
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.
[10] Pixar also studied the
Disney Cruise Line and visited
Las Vegas, which was helpful in understanding artificial lighting.
[7] 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.
[33] In keeping with the artificial
Axiom, camera movements were modeled after those of the
steadicam.
[35]
The use of live action was a stepping stone for Pixar, as Stanton was planning to make
John Carter of Mars his next project.
[10] Storyboarder Derek Thompson noted introducing live action meant they had to make the rest of the film look even more realistic.
[36]
Eggleston added that if the historical humans had been animated and
slightly caricaturized, then the audience would not have recognized how
serious their devolution was.
[33] Stanton cast
Fred Willard as the historical Buy n Large CEO because "He's the most friendly and insincere car salesman I could think of."
[24] The CEO says "
stay the course," which Stanton used because he thought it was funny.
[37] Industrial Light & Magic did the visual effects for these shots.
[7]
Animation
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. or
R2-D2.
[11] 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!'"
[38] He added, "We wanted the audience to believe they were witnessing a machine that has come to life."
[7] 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,
[18] 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.
[7]
Stanton wanted WALL-E to be a box and EVE to be like an egg.
[39] 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.
[40] The director was reminded of
Buster Keaton and decided the robot would not need a nose or mouth.
[41] Stanton added a
zoom lens to make WALL-E more sympathetic.
[41] Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality.
[33] Pixar's studies of trash
compactors during their visits to recycling stations inspired his body.
[7] His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.
[39]
The animators wanted him to have elbows, but realized this was
unrealistic because he is only designed to pull garbage into his body.
[7] His arms also looked flimsy when they did a test of him waving.
[39]
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.
[42] Stanton was unaware of the similarities between WALL-E and Johnny 5 from
Short Circuit until others pointed it out to him.
[11]
Auto, the captain and EVE
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.
[10] Her eyes are modelled on
Lite-Brite toys,
[41]
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.
[39] Her limited design meant the animators had to treat her like a drawing, relying on posing her body to express emotion.
[7] They also found her similar to a
manatee or a
narwhal because her floating body resembled an underwater creature.
[39] Auto was a conscious homage to
HAL 9000 from
2001: A Space Odyssey, and the usage of
Also sprach Zarathustra for the showdown between the captain and Auto furthers that.
[11][not in citation given] The manner in which he hangs from a wall gives him a threatening feel, like a spider.
[43]
Originally, Auto was designed entirely differently, resembling EVE, but
masculine and authoritative; the Steward robots were also more
aggressive Patrol-bots.
[23]
The majority of the robot cast were formed with the Build-a-bot
program, where different heads, arms and treads were combined together
in over a hundred variations.
[7] The humans were modelled on sea lions due to their
blubbery bodies,
[33]
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.
[44]
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.
[11]
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.
[41]
As he rewatched these, Stanton felt that filmmakers – since the advent
of sound – relied on dialogue too much to convey exposition.
[11] 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).
[7] They also watched
2001: A Space Odyssey,
The Black Stallion and
Never Cry Wolf, films that had sound but were not reliant on dialogue.
[36] Stanton acknowledged
Silent Running as an influence because its silent robots were a forerunner to the likes of R2-D2,
[27] and that the "hopeless romantic"
Woody Allen also inspired WALL-E.
[15]
Sound
Producer Jim Morris recommended
Ben Burtt as
sound designer for
WALL-E because Stanton kept using
R2-D2 as the benchmark for the robots.
[28] 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".
[7] He recorded 2500 sounds for the film, which was twice the average number for a
Star Wars film,
[18] and a record in his career.
[7] Burtt began work in 2005,
[45] and experimented with filtering his voice for two years.
[46] Burtt described the robot voices as "like a
toddler [...]
universal language of
intonation. 'Oh', 'Hm?', 'Huh!', you know?"
[47]
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.
[48] He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas.
[7]
Burtt would choose scientifically accurate sounds for each character,
but if he could not find one that worked, he would choose a dramatic if
unrealistic noise.
[48]
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.
[10]
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.
[49] Burtt also used an
automobile self starter for when WALL-E goes fast,
[48] and the sound of cars being wrecked at a
demolition derby provided for WALL-E's compressing trash in his body.
[50] 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.
[48]
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.
[37] Burtt recorded a flying 10-foot-long (3.0 m) radio-controlled jet plane for EVE's flying,
[7] 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.
[51]
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."
[27] Additional sounds for the character were meant to give him a clockwork feel, to show he is always thinking and calculating.
[48]
Burtt had visited
Niagara Falls in 1987 and used his recordings from his trip for the sounds of wind.
[50] He ran around a hall with a
canvas bag up to record the sandstorm though.
[7]
For the scene where WALL-E runs 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.
[52] To create Hal (WALL-E's pet cockroach)'s skittering, he recorded the clicking caused by taking apart and reassembling
handcuffs.
[7]
Music
Thomas Newman recollaborated with Stanton on
WALL-E since the two got along well on
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.
[53]
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.
[54]
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 he saw
The Triplets of Belleville
(2003) and did not want to appear as if he were copying it. 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.
[55]
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
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".
[56] Coincidentally, Newman's uncle
Lionel worked on
Hello, Dolly![7]
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.
[7] Louis Armstrong's rendition of "
La Vie en rose" was used for a montage where WALL-E does not get EVE's attention on Earth. The script also specified using
Bing Crosby's "
Stardust" for when the two robots dance around the
Axiom,
[9]
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.
Themes
This movie is widely recognized as a critique on society. It brings
up real issues that the world, and especially densely populated areas,
are dealing with today and even more so in the future. 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 are filling up so quickly that the
UK may run out of landfill space by the year 2017.
[58]
Environment and waste
Because
WALL-E overtly critiques consumerism, it also critiques Disney's production values and aesthetic, without being too obvious.
[6]
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.
In "WALL-E: from environmental adaption to sentimental nostalgia,"
Robin Murray and Joseph Heuman explain the important theme of nostalgia
in this film. Nostalgia is clearly represented by human artifacts, left
behind, that WALL-E collects and cherishes, i.e. Zippo lighters,
hubcaps, and plastic sporks. These modern items that we use 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 in to 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":
[24]
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.[24]
Technology
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".
[59] Stanton said that by taking away effort to work, the robots also take away humanity's need to put effort into relationships.
[43] 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, and 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."
[60]
The
Axiom and EVE have been compared to
Noah's Ark and the dove in that story.
Religion
Stanton, who is a Christian,
[12] named EVE after the
Biblical character because WALL-E's loneliness reminded him of
Adam, before God created his wife.
[61]
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. Dreher also noted this departure from classical
Christian viewpoints, where Adam is
cursed to labor, in that
WALL-E
argues hard work is what makes humans human. 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.
[60] 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.
[12]
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.
[62] WALL-E himself has been compared to
Prometheus,
[28] Sisyphus,
[60] 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."
[63]
