WALL-E (2008)

G | 97 mins | Science fiction | 27 June 2008

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
You may also like these titles from the AFI Catalog of Feature Films, the most authoritative documentation of the First 100 Years of American filmmaking.

Director:

Andrew Stanton

Producer:

Jim Morris

Production Designer:

Ralph Eggleston

Production Companies:

Pixar Animation Studios, Walt Disney Pictures
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HISTORY

On the film's title card, the word WALL-E appears in all caps, with a dot in place of the hyphen and the E centered within a red circle. The font is reminiscent of dot matrix computer printouts from the 1980s. After the logos for Walt Disney and Pixar studios, the opening company credits appear over animated shots of outer space. From there the viewer is taken through earth’s atmosphere. The screen pans across vistas that first appear to be mountains and cityscapes, but soon most are revealed to be huge mounds of compacted garbage. The character “WALL-E” is seen from above, as he moves along paths between the stacks. The screen zooms in to ground level, where WALL-E is shown with his cockroach friend, going about his daily duties of collecting and compacting the garbage, then laying it in stacks like bricks. Over this sequence the song, “Put On Your Sunday Clothes” from the 1969 Twentieth Century-Fox film, Hello, Dolly! (see above), is heard, beginning with the lyrics, “Out there, there’s a world outside of Yonkers….” The lyrics hint at WALL-E’s yearning and curiosity, and the music becomes a rallying song later in the film during the sequences on the Axiom . When WALL-E and the cockroach finish for the evening and proceed toward the truck they use for a home, the title card for WALL-E is shown, and Thomas Newman’s score commences, interspersed with advertising jingles of the fictional company “Buy N Large” (BNL) heard and shown on holographic billboards that WALL-E passes.
       Although most of the film is animation, the advertisements and other filmed messages, most depicting the BNL ... More Less

On the film's title card, the word WALL-E appears in all caps, with a dot in place of the hyphen and the E centered within a red circle. The font is reminiscent of dot matrix computer printouts from the 1980s. After the logos for Walt Disney and Pixar studios, the opening company credits appear over animated shots of outer space. From there the viewer is taken through earth’s atmosphere. The screen pans across vistas that first appear to be mountains and cityscapes, but soon most are revealed to be huge mounds of compacted garbage. The character “WALL-E” is seen from above, as he moves along paths between the stacks. The screen zooms in to ground level, where WALL-E is shown with his cockroach friend, going about his daily duties of collecting and compacting the garbage, then laying it in stacks like bricks. Over this sequence the song, “Put On Your Sunday Clothes” from the 1969 Twentieth Century-Fox film, Hello, Dolly! (see above), is heard, beginning with the lyrics, “Out there, there’s a world outside of Yonkers….” The lyrics hint at WALL-E’s yearning and curiosity, and the music becomes a rallying song later in the film during the sequences on the Axiom . When WALL-E and the cockroach finish for the evening and proceed toward the truck they use for a home, the title card for WALL-E is shown, and Thomas Newman’s score commences, interspersed with advertising jingles of the fictional company “Buy N Large” (BNL) heard and shown on holographic billboards that WALL-E passes.
       Although most of the film is animation, the advertisements and other filmed messages, most depicting the BNL CEO, “Shelby Forthright,” played by Fred Willard, are live action. Willard was the first actor to appear as a live action character with a speaking role in a Pixar production and the filming of the sequences with Willard was director Andrew Stanton’s live action directorial debut. Other live action shots shown in the film are moving and still images on the “captain’s” computer, and excerpts from Hello, Dolly! , which is the film on WALL-E’s treasured videotape. The excerpts feature sequences containing the above mentioned song, “Put On Your Sunday Clothes,” sung by Michael Crawford and other members of the cast. Another song, “It Only Takes a Moment,” which is sung by Crawford and Marianne McAndrews, contains the hand-holding scene that inspires WALL-E to pursue romance. During approximately the first twenty minutes of the film, especially those set on earth, there is little dialogue, except for the film clips, the computer bleeps and other word-like sounds the robot characters use to communicate.
       The end credits feature the original song, “Down to Earth” by Peter Gabriel and Thomas Newman. The elaborate background to the end credits presents an epilogue to the story, showing the humans and robots restoring earth through pictures that follow the sequence of the history of art. The first credits are shown on a background reminiscent of cave art depicting the captain leading the humans and robots out of the spaceship. Further credits are shown on backgrounds in the style of Egyptian hieroglyphics, Grecian urns and drawings in the style of Leonardo Da Vinci that depict the humans, assisted by robots, learning to farm, make fire, dig wells, and build habitats and sailing vessels. The sequence of credits end over facsimiles of famous Impressionist paintings, such as those by Georges Seurat and Vincent van Gogh, with film characters added to the scene, showing them living in a garden-like paradise. According to Stanton’s commentary on the 2008 DVD release of the film, several of the animators felt that WALL-E ’s ending concluded the story of the romance of WALL-E and “EVE” satisfactorily, but that the human story was left hanging. Many of Stanton’s colleagues felt that the humans could not thrive more than a couple weeks after having their needs cared for by robots for seven hundred years. Instead of changing the story’s ending, the epilog was used to show how they would survive.
       After the major credits, the rest of the credits scroll, embellished with simple cartoon-like figures reminiscent of computer game graphics of the 1980s, showing WALL-E, EVE, and “M-O” (an acronym for “microbe obliterator”), who continues to clean up trails of dirt tracks along the sides of the screen. After the crew credits, there is a list of individuals and companies given a "special thanks," followed by a list of babies born to crew members during production. The end credits include acknowledgments to Twentieth Century-Fox and Pong Classic Video Game (a game WALL-E plays in the film) and Atari 2600 Console courtesy of Atari Interactive, Inc. The final end credit depicts the logo, BNL, of the fictional corporation, Buy N Large, that was prominent in the story. At the end of the credits, Pixar Studio’s animated logo appears, featuring the bouncing animated Luxo light (an homage to the studio’s 1986 animated short, Luxo Jr. ) in place of the “I” in Pixar. In this version of the logo, the figure of WALL-E enters to change the lamp’s burned out bulb then, after accidentally knocking over the R, appears in the R’s place.
       According to a 22 Jun 2008 NYT article, the genesis of the film’s story occurred at a 1994 luncheon of Pixar creative people near the end of production of their 1995 film, Toy Story . As the filmmakers sketched story ideas on napkins, someone suggested a scenario of humanity being forced to abandon the earth and inadvertently leaving behind a little robot that continued to carry out its duties. Other stories brainstormed at the luncheon developed into A Bug’s Life (1998), Monsters, Inc. (2001) and Finding Nemo (2003, See Entry). However, the idea of the abandoned robot was set aside for about ten years. During this time, the idea was referred to as “Trash Planet,” and Stanton and writer Pete Docter always had the idea that the robot would be some kind of sanitation worker, according to Stanton’s commentary on the DVD. Despite the ecological message of the final film, Stanton maintains that he never intended to convey a particular agenda, but that the film’s suggestion of mankind’s future was extrapolated by working backwards from the abandoned robot cleaning up trash, then asking why was there so much trash and why was the robot left behind.
       In early 2004, after winning an Academy Award for Best Animated Picture for Finding Nemo , Stanton gave up plans for a six-month vacation and began work on WALL-E . The 22 Jun 2008 NYT article and the DVD commentary reported the following: In what he described as a “private experiment,” Stanton gathered a tight-knit group of colleagues Ronnie del Carmen, Peter Sohn, his brother Nathan Stanton and editors Nicholas C. Smith and Axel Geddes] who spent about six months storyboarding. As animated stories are usually heavy with dialogue, Stanton was reluctant to admit to others outside the group that he was searching for a way to tell a story without using dialogue. Stanton and his colleagues studied the works of silent film stars Charlie Chaplin, Buster Keaton and Harold Lloyd, who portrayed energetic and sympathetic characters who rarely spoke. During this time, the group defined the look, feel and tone of WALL-E .
       Although the team wanted WALL-E’s look conform to a machine that compacted garbage, thought was given to his facial features. According to the 22 Jul 2008 NYT article, Stanton urged the group to collect photos of machines and other items that appeared to have personalities and, while at a baseball game, Stanton got the idea of using binoculars as a model for WALL-E’s eyes. According to a documentary included as added content on the DVD release of the film, the group imbued WALL-E with the wonder and curiosity that a child has about items used by adults, which was reflected in the story as the way the robot collects and prizes items he finds in the garbage, some of which had recognizable brand names, like Rubik’s cubes and the electronic game, Pong.
       Stanton also consulted Ben Burtt, the Academy Award winning sound designer who created the robotic sounds of the character “R2D2” in Star Wars (1977) and its sequels, as well as characters and sounds of other films. After Burtt joined the project, Stanton provided him with a conventional script, which Burtt had to “translate” into a robot language of sounds, in a process Burtt calls “audio puppeteering.” Burtt’s theory is that people give real sounds a subconscious association, which can be interpreted by the listener into words and emotions. The sound of WALL-E’s movements across terrain was devised by Burtt by recording the sound of a hand-cranked, World War II Army generator that he first saw in a John Wayne movie and later purchased on eBay. Early in the project, the group considered providing the humans in the story with a new, evolved language, but that idea was dropped.
       According to a 4 Jul 2008 LAT article, Stanton originally had the idea of juxtaposing scenes of outer space with the sound of French swing music. However, after the release of the 2003 animated French film, The Triplets of Belleville , which used that style of music in its score, Stanton feared that his idea would seem derivative of the earlier film. He listened to various popular standards and songs from musicals of the mid-twentieth century for the retro sound he was seeking and eventually recalled the songs from the famous Hello, Dolly! , a stage musical in which he had played “Barnaby” in a high school production. Searching for a reason for the character WALL-E to know those songs, co-writer Jim Reardon imagined the idea of WALL-E finding an old videotape of the 1969 movie adapted from the stage play. These ideas inspired the Pixar team to develop the brief hand-holding shot during the song, “It Only Takes a Moment,” from the film into the symbol of WALL-E’s expression for the thought, “I love you.” According to Stanton’s DVD commentary, the original shot of the actors holding hands was not a moment emphasized in the 1969 film and was created by Pixar staff by zooming in on the original shot to get a close-up of the hands.
       WALL-E drew on themes from science fiction films of the late 1960s to early 1980s, and made brief homages to films such as Twentieth Century-Fox productions, The Poseidon Adventure (1972) and Star Wars (1977), Universal Picture’s 1982 film, ET: The Extra-Terrestrial (1982) and Pixar’s 2001 Monsters, Inc. . Sigourney Weaver, who provides the voice for the computer in the film, was the star of the 1979 Twentieth Century-Fox production, Alien , and its sequels. Although, according to the DVD commentary, the appearance of the character “Auto” was partially inspired by the wheel used to navigate early ships, the eye-like center of the character and its antagonistic role in the story was reminiscent of the computer, “HAL 9000,” in 2001: A Space Odyssey (1969, see above). Another homage to that film is the use of the famous theme from Richard Strauss’s Thus Spake Zarathustra when the captain first attempts to walk.
       In the DVD commentary, Stanton stated that “A113,” the computer code that signified staying in space and not returning to earth, was a Pixar in-joke that has appeared in other Pixar films. Many of the Pixar employees are graduates of the California Institute of the Arts, where several classes in animation were held in room A113. He also explained that the portraits of the captains in the bridge of the ship Axiom , whose names written under the portraits were given as “Reardon,” “Fee,” “Thompson,” “Brace,” and “O’Brien,” were stills of Pixar employees that had been enhanced to look cartoonish. Although the name of the captain in the story is never spoken, the name under his portrait on the wall is ”B. McCrea,” a tribute to Bob McCrea, an animator at Disney who taught character animation at California Institute of the Arts from 1977 until 1986.
       Stanton reported that after the screening of WALL-E in Portland, OR, a sequence was changed. In the original version, the character EVE, not WALL-E, was electrocuted by Auto and thrown into the garbage chute during the struggle for the plant between the captain and Auto. Later, reasoning that the plot is about how WALL-E’s actions affected those around him, the animators reversed the roles. In the released film, WALL-E is injured and EVE must decide to forego her prime directive in order to rescue him, thus showing that he has become important to her. The earlier version of the scene was included as added content on the DVD release.
              The film drew controversy around the time of its release, when, as noted in a 13 Jul 2008 LAT editorial and other articles and blogs, some well-known conservatives were offended by the film’s themes of over-consumption, environmentalism, big corporations and what they interpreted to be anti-capitalist, anti-American propaganda. However, some conservatives praised the film. A CSM (csmonitor.com) blog dated 2 Jul 2008 quoted Patrick J. Ford’s statement in The American Conservative , in which he pointed out that WALL-E showed the importance of small town life, romantic devotion, small farms, atomic family and wholesome entertainment.
       In addition to being named one of AFI’s Movies of the Year, WALL-E was named one of 2008’s top ten films by the National Board of Review. It was nominated by the Broadcast Film Critics Association for Best Picture, and won the organization’s Annual Critics’ Choice Award for Best Animated Feature. The New York Film Critics Circle named the picture the Best Animated Film of the year, and it was also named Best Animated Film by the PGA. The film was nominated for a Golden Globe award for Best Original Song, “Down to Earth,” and won the award for Best Animated film. WALL-E was nominated for Academy Awards for Best Music (Score), Best Song ("Down to Earth"), Best Sound Editing, Best Song Mixing, Best Writing (Original Screenplay) and won for Best Animated Feature Film. More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Christian Science Monitor
2 Jul 2008.
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Hollywood Reporter
25 Jun 2008.
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Hollywood Reporter
14 Nov 2008
pp. 21-22.
Los Angeles Times
27 Jun 2008
Calendar, p. 1.
Los Angeles Times
30 Jun 2008.
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Los Angeles Times
1 Jul 2008.
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Los Angeles Times
4 Jul 2008.
---
Los Angeles Times
13 Jul 2008.
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Los Angeles Times
18 Jul 2008.
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Los Angeles Times
31 Jul 2008.
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New York Times
27 Jun 2008.
---
Time
23 Jun 2008
pp. 121-123.
Variety
26 Jun 2008.
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CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
PRODUCERS
Prod
Assoc prod
Exec prod
Co-prod
Line prod, Live action
WRITERS
Orig story
Orig story
PHOTOGRAPHY
Dir of photog cam
Dir of photog lighting
Dir of photog, Live action
ART DIRECTORS
Prod des
Character art dir
Set art dir
Shader art dir
Graphics art dir
Visual consultant
Visual consultant
Story supv
Story mgr
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Digital boarding & eff, Story
Digital boarding & eff, Story
Addl digital boarding, Story
Story prod asst
Art mgr
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod artist
Prod illus
Motion graphics des
Motion graphics tech lead
Matte painter
Matte paint tech lead
Sculptor
Graphic artist
Graphic artist
Graphic artist
Graphic artist
Digital painter
Digital painter
Digital painter
Digital painter
Digital painter
Digital painter
Graphics & paint tech artist
Graphics & paint tech artist
Development artist
Development artist
Development artist
Development artist
Development artist
Addl art management
Art coord
Art coord
Art coord
Art prod asst
Shading artist, Sets
Shot lighting artist
FILM EDITORS
Ed mgr
Ed mgr
2d film ed
2d film ed
2d film ed
1st asst ed
2d asst ed
2d asst ed
2d asst ed
Addl editing
Ed prod asst
Addl ed support
Negative cutting, Live action
MUSIC
Orig score, comp & cond
Rec & mixed by
Orch rec
Asst mus ed
Mus contractor
Mus preparation
Digital audio
Exec mus prod
Mus supv
Mus prod mgr
Mus business affairs
Mus prod coord
Mus prod asst
Mus prod asst
Mus rec & mixed at
Mus rec & mixed at
SOUND
Sd & character voice des
Post prod orig dial mixer
Post prod orig dial mixer
Post prod addl dial rec
Post prod supv sd ed & mixer
Supv sd ed
Addl sd des, Editorial
Re-rec mixer
Re-rec mixer
Sd eff ed
Sd eff ed
Sd eff ed
ADR ed
Foley ed
Foley ed
Asst supv sd ed
Foley artist
Foley artist
Foley mixer
Foley rec
Mix tech
Digital transfer
Digital transfer
Digital transfer
VISUAL EFFECTS
Mgr, Image mastering
Lead eng, Image mastering
Admin mgr
Image mastering coord
Media control mgr
Media control transfer op, Image mastering
Media control transfer op, Image mastering
Media control transfer op, Image mastering
Media control transfer op, Image mastering
Cam op, Image mastering
Cam op, Image mastering
Projection, Image mastering
Projection, Image mastering
Software eng, Image mastering
Software eng, Image mastering
Software eng, Image mastering
Software eng, Image mastering
End titles dir, Post prod
End titles prod management, Post prod
End titles prod management, Post prod
End titles des lead, Post prod
End titles title des, Post prod
End titles anim, Post prod
End titles anim, Post prod
End titles anim, Post prod
End titles background paint, Post prod
End titles 2d paint, Post prod
End titles after eff, Post prod
End titles after eff, Post prod
Mgr, Render pipeline group
Tech lead, Render pipeline group
Render pipeline group team
Render pipeline group team
Render pipeline group team
Render pipeline group team
Render pipeline group team
Render pipeline group team
Team lead, Prod engineering
Team lead, Prod engineering
Team lead, Prod engineering
Team lead, Prod engineering
Team lead, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Software development, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Infrastructure, Prod engineering
Lead, Pre-prod engineering
Team, Pre-prod engineering
Team, Pre-prod engineering
Team, Pre-prod engineering
Team, Pre-prod engineering
Team, Pre-prod engineering
Pixar visual eff supv, Live action
Pixar digital prod supv, Live action
Digital prod supv, Live action
Live action prod by
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Live action prod
Visual eff supv, Live action
Visual eff prod, Live action
Digital prod supv
Layout supv, Live action
Visual eff ed, Live action
Digital paint & roto supv, Live action
Digital artist, Live action
Digital artist, Live action
Digital artist, Live action
Digital artist, Live action
Prod coord, Live action
Media operations, Live action
CPUs for final rendering
Rendered with
Computer-generated voices courtesy of
PRODUCTION MISC
Casting
Casting
Casting, Live action
Casting, Live action
Prod mgr
Supv tech dir
Story coord
Prod finance lead
Asst prod accountant
Asst prod accountant
Asst to the dir
Asst to the prod
Prod office mgr
Addl prod management
Prod office asst
Prod office asst
Prod office asst
Prod office asst
Addl prod support
Addl prod support
Addl prod support
Addl prod support
Addl prod support
Post prod supv
Dir of ed & post prod
Post prod international mgr
Post prod international mgr
Post prod international tech lead
Post prod international editorial
Post prod international art dir
Post prod supv, video
Post prod mgr
Post prod coord
Post prod management asst
Post prod asst
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
Pixar senior creative team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
A/V engineering, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Admin & application support, Pixar studio team
Data Management Group, Pixar studio team
Data Management Group, Pixar studio team
Data Management Group, Pixar studio team
Data Management Group, Pixar studio team
Data Management Group, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Desktop & infrastructure, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Consumer products, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
Marketing, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
DVD prod, Pixar studio team
Theme parks, Pixar studio team
DVD prod, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Theme parks, Pixar studio team
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Prod resources, Pixar studio group
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Human resources, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Admin & finance, Pixar studio team
Legal, Pixar studio team
Legal, Pixar studio team
Legal, Pixar studio team
Legal, Pixar studio team
Legal, Pixar studio team
Development, Pixar studio team
Development, Pixar studio team
Development, Pixar studio team
Development, Pixar studio team
Development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman development, Pixar studio team
Renderman sales & marketing, Pixar studio team
Renderman sales & marketing, Pixar studio team
Renderman sales & marketing, Pixar studio team
Renderman sales & marketing, Pixar studio team
Renderman sales & marketing, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Software development, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Pixar university & archives, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Facilities, Pixar studio team
Purchasing & relocation, Pixar studio team
Purchasing & relocation, Pixar studio team
Purchasing & relocation, Pixar studio team
Shipping & receiving, Pixar studio team
Shipping & receiving, Pixar studio team
Shipping & receiving, Pixar studio team
Shipping & receiving, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Safety & security, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Craft services by Luxo Café, Pixar studio team
Pixar senior staff
Pixar senior staff
Pixar senior staff
Pixar senior staff
Images
Images
ANIMATION
Supv anim
Supv anim
Character supv
Sets supv
Eff supv
Tech pipeline supv
Character modeling lead
Character shading lead
Set modeling lead
Set shading lead
Set dressing lead
Crowds supv
Rendering supv
Layout mgr, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Layout artist, Cam & staging
Post-anim cam artist, Cam & staging
Layout coord, Cam & staging
Layout coord, Cam & staging
Anim mgr
Directing anim
Anim character development
Anim character development/Anim
Anim
Anim
Anim
Anim
Anim
Anim
Anim
Anim
Anim
Anim
Fix anim lead
Fix & addl anim
Fix & addl anim
Fix & addl anim
Fix & addl anim
Fix & addl anim
Crowds anim lead
Crowds & addl anim
Crowds & addl anim
Crowds & addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Addl anim
Anim shot support tech
Anim shot support tech
Anim coord
Anim coord
Anim coord
Character mgr
Character mgr
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character modeling & articulation artist
Character shading artist
Character shading artist
Character shading artist
Character shading artist
Character shading artist
Character shading artist
Character shading artist
Character shading artist
Character intern
Character intern
Crowds & simulation mgr
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Crowds & simulation artist
Tailor, Crowds & simulation
Crowds seq lead, Crowds & simulation
Crowds rendering optimization, Crowds & simulation
Addl simulation, Crowds & simulation
Characters & crowds coord, Crowds & simulation
Addl crowds prod, Crowds & simulation
Addl crowds prod, Crowds & simulation
Sweatbox mgr, Inventory
Sweatbox mgr, Inventory
Sweatbox coord, Inventory
Sets previs/Modeling mgr
Sets shading/Dressing mgr
Previsualization artist, Sets
Previsualization artist, Sets
Previsualization artist, Sets
Previsualization artist, Sets
Sets tech developer
Sets model optimization
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Modeling artist, Sets
Sr shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Shading artist, Sets
Set dressing artist
Set dressing artist
Set dressing artist
Sets coord
Sets coord
Sets prod asst
Sets intern
Sets intern
Sets intern
Lighting mgr
Tech lighting lead
Lead lighting artist
Lead lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Master lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Shot lighting artist
Lighting consultant
Lighting optimization eng
Lighting optimization eng
Illumination eng
Lighting coord
Lighting coord
Eff mgr
Eff seq lead
Eff seq lead
Eff seq lead
Eff seq lead
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff artist
Eff intern
Lighting & eff prod asst
Rendering mgr, Rendering & optimization
Rendering & optimization artist
Rendering & optimization artist
Rendering & optimization artist
Rendering & optimization artist
Starfields development, Rendering & optimization
Rendering coord, Rendering & optimization
Rendering intern, Rendering & optimization
Tech development lead
Tech development coord
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Development eng, Tech development
Tech intern, Tech development
Tech intern, Tech development
Anim on
COLOR PERSONNEL
Col grading op
Col grading op
Col timer
Col timer
SOURCES
MUSIC
"Thus spake Zarathustra" by Richard Strauss.
SONGS
"Down to Earth," music by Peter Gabriel and Thomas Newman, lyrics by Peter Gabriel, performed by Peter Gabriel, featuring The Soweto Gospel Choir, produced by Peter Gabriel, L.A. sessions produced by Thomas Newman, recorded by Richard Chappell, Mixed by Tchad Blake
"Put on Your Sunday Clothes" and "It Only Takes a Moment," music and lyrics by Jerry Herman, courtesy of Twentieth Century Fox Film Corporation
"Don't Worry, Be Happy," music and lyrics by Bobby McFerrin, performed by Bobby McFerrin, produced by Linda Goldstein, courtesy of Original Artists
+
SONGS
"Down to Earth," music by Peter Gabriel and Thomas Newman, lyrics by Peter Gabriel, performed by Peter Gabriel, featuring The Soweto Gospel Choir, produced by Peter Gabriel, L.A. sessions produced by Thomas Newman, recorded by Richard Chappell, Mixed by Tchad Blake
"Put on Your Sunday Clothes" and "It Only Takes a Moment," music and lyrics by Jerry Herman, courtesy of Twentieth Century Fox Film Corporation
"Don't Worry, Be Happy," music and lyrics by Bobby McFerrin, performed by Bobby McFerrin, produced by Linda Goldstein, courtesy of Original Artists
"La vie en rose," music and lyrics by Louiguy, Edith Piaf and David Mack, performed by Louis Armstrong, courtesy of The Verve Music Group under license from Universal Music Enterprises
"BNL Jingle," music by Thomas Newman, lyrics by Bill Bernstein.
+
DETAILS
Release Date:
27 June 2008
Premiere Information:
Edinburgh Film Festival screening: 18 June 2008, Los Angeles opening: 27 June 2008
Production Date:
3 January 2007--5 March 2008
Copyright Claimant:
Disney Enterprises, Inc.
Copyright Date:
21 August 2008
Copyright Number:
PA1606305
Physical Properties:
Sound
Dolby Digital; dts Digital Sound; SDDS Sony Dynamic Digital Sound in selected theatres
Color
Animation
Lenses/Prints
Prints by Deluxe and Technicolor; Kodak Motion Picture Film
Duration(in mins):
97
MPAA Rating:
G
Country:
United States
Language:
English
PCA No:
44354
SYNOPSIS

Eight hundred years in the future, a boxy little Waste Allocation Load Lifter, Earth-Class robot called WALL-E compacts trash and stacks it piles, as he was programmed to do seven hundred years ago by Buy n Large Corporation, the monopoly that governed the earth. According to old videoscreen billboards that continue to play their messages, the planet had amassed so much garbage that the corporation, nicknamed BNL, provided huge luxury spacecrafts to house the humans for five years, while robots were left behind to clean up. However, the humans never returned and all the robots except the dented, timeworn WALL-E, have since broken down. WALL-E, whose only companion is a cockroach, replaces his damaged parts from the defunct machines and dutifully carries out his task. Meanwhile, he has gained sentience and curiosity about detritus left by the former civilization, and has collected many fascinating objects, among them, bolts, toys, light bulbs, a fire extinguisher and a cigarette lighter, which he keeps in a compartment inside his body or stores in an old truck that serves as his home. Among his most treasured possessions is a videocassette of a film, showing people dancing together in solidarity, and a man and woman falling in love. He often watches the film, trying to emulate how the man spins his hat as he dances, and he clicks his two claws together thoughtfully when he watches the man and woman join hands. When he finds a living plant, he places it in an old shoe and tends it carefully. One day, a large spacecraft delivers a sleek, egg-shaped research probe called Extra-terrestrial Vegetation Evaluator or EVE. From a hiding place, WALL-E watches ... +


Eight hundred years in the future, a boxy little Waste Allocation Load Lifter, Earth-Class robot called WALL-E compacts trash and stacks it piles, as he was programmed to do seven hundred years ago by Buy n Large Corporation, the monopoly that governed the earth. According to old videoscreen billboards that continue to play their messages, the planet had amassed so much garbage that the corporation, nicknamed BNL, provided huge luxury spacecrafts to house the humans for five years, while robots were left behind to clean up. However, the humans never returned and all the robots except the dented, timeworn WALL-E, have since broken down. WALL-E, whose only companion is a cockroach, replaces his damaged parts from the defunct machines and dutifully carries out his task. Meanwhile, he has gained sentience and curiosity about detritus left by the former civilization, and has collected many fascinating objects, among them, bolts, toys, light bulbs, a fire extinguisher and a cigarette lighter, which he keeps in a compartment inside his body or stores in an old truck that serves as his home. Among his most treasured possessions is a videocassette of a film, showing people dancing together in solidarity, and a man and woman falling in love. He often watches the film, trying to emulate how the man spins his hat as he dances, and he clicks his two claws together thoughtfully when he watches the man and woman join hands. When he finds a living plant, he places it in an old shoe and tends it carefully. One day, a large spacecraft delivers a sleek, egg-shaped research probe called Extra-terrestrial Vegetation Evaluator or EVE. From a hiding place, WALL-E watches in awe as the probe soars gracefully, but trembles when he sees her shoot at any sound. Despite his trepidation, WALL-E is smitten and eventually introduces himself without prompting her to shoot him. When she asks about his “directive,” he demonstrates his job. When a violent dust storm disorients EVE, WALL-E takes her to his truck for safety. There, he shows her some of his treasures: bubble wrap, a light bulb, and the flame of the cigarette lighter, which they both watch in fascination. He plays his video and tries to emulate the handholding couple in love by reaching for her, but she jerks away. He also shows her his plant, but this causes her mood to instantly change. Lights flash inside her body, her trunk opens and sucks the plant inside, then she goes into standby mode. Confused, WALL-E takes her out into the sunlight to recharge and, in the following days, protects her from rain. He also takes her to see a sunset, although she does not respond. When the craft returns to collect EVE, WALL-E, desperate not to lose her, clings to the ship’s hull as it travels through space to rendezvous with BNL’s flagship Axiom , a robot-run starliner in which humans have been living for centuries. Forgetful of earth, the humans have suffered severe bone loss, due to microgravity and inactivity, and spend their time lounging on hovercrafts, drinking liquid food, communicating through video messaging screens and becoming unwittingly reliant on the many task-dedicated robots who serve them. Even the captain of the ship, the human pilot in a long line of officers, has little to do but send cheery video messages to the passengers, while the computerized autopilot robot, Auto, handles all tasks. Inside the Axiom , WALL-E follows behind as EVE is processed by other robots and his muddy tracks soon attract M-O, an obsessive little cleaning robot. When the plant inside EVE is detected, she is taken to the bridge and reactivated. The ship’s computer then shows the captain a centuries-old video-recording from former BNL CEO Shelby Forthright that recounts their exodus from earth and directs him to place the plant, an indication that earth is now livable, into the holo-detector. If the scans confirm the plant’s origin as earth, the ship will return the humans to re-colonize the planet. As Auto has surreptitiously removed the plant, when EVE is opened, the plant is missing and she is presumed to be defective. She is taken to the repair ward, where WALL-E watches as she undergoes diagnostics. Presuming that she is being harmed, WALL-E frees her, but inadvertently releases the Axiom 's malfunctioning robots. As the robots roam the halls, EVE and WALL-E are labelled "rogue robots" whose images are captured on videoscreens that are placed throughout the ship. Deciding that WALL-E should not remain on the ship, EVE leads him to an escape pod to send him back to earth. However, in the launch room, they spot Auto’s assistant, GO-4, placing the missing plant into a pod that is programmed to eject and self-destruct. When WALL-E enters the pod to rescue the plant, he is shot out into space. Horrified, EVE flies after him, and when he survives the explosion, they frolic in space. From inside the ship, John and Mary, two humans who have been watching EVE and WALL-E, accidentally stumble into each other and begin a conversation without video screens that blossoms into love. When WALL-E shows EVE that he saved the plant, she abandons him to perform her directive, taking the plant to the captain. Fascinated by what he is learning about the earth, the captain plays EVE’s built-in visual recording of her mission and discovers that the planet is still in turmoil. While watching the recording, EVE is touched to see how WALL-E took care of her. Although the captain orders the plant to be taken to the holo-detector, Auto obstinately refuses and eventually reveals to him a secret recording made by Forthright. Codenamed A113, the recording shows Forthright giving orders to keep the humans in space indefinitely, as the cleanup operation failed and the earth was deemed toxic. Believing that time has healed the toxic conditions, the captain vetoes Forthright’s command, but Auto is unwilling to accept new orders. He locks the captain into his quarters and, during a scuffle, electrocutes WALL-E and pitches him and EVE into the garbage chute. Huge robotic arms compact them with the trash, but EVE is able to free them. When the barely functioning WALL-E shows her the plant he again has rescued, she ignores her directive in order to save him. She frantically searches the trash for suitable replacement parts, but concludes his survival depends on returning home. When the trash doors open to eject the compacted trash, WALL-E and EVE are almost jettisoned, but M-O, following WALL-E’s trail of dirt, wedges between the garbage doors and gives them a handhold to keep them from being swept away. Back in the ship, the three robots and the malfunctioning robots who rally behind them fight with security robots sent by Auto. From his captivity, the captain makes a ship-wide announcement, ordering EVE to take the plant to the Lido deck holo-detector, but before EVE can insert the plant, it is knocked away from her. WALL-E jams himself in the holo-detector to keep it from closing, while the captain tricks Auto into meeting him in the bridge. As the captain engages Auto in manual combat, the ship tilts, sending the helpless passengers sliding across the deck. The videoscreens display the fight on the bridge, during which the captain struggles to his feet, walking, for the first time in his life, toward Auto and turns off his switch. After witnessing the captain’s victory, the humans and their robot compatriots band together to overcome the security robots, then pass the plant to EVE, who places it in the holo-detector. She frees the unconscious WALL-E as the ship goes into hyperdrive on a course toward earth. Upon landing, the captain introduces the humans to their new responsibility of restoring the earth. EVE and the reunited cockroach rush to repair the crushed WALL-E. Although replacing his parts restores WALL-E’s functionality, his memory and personality have been corrupted. Heartbroken, EVE takes his claws and sadly touches her head to his, inadvertently causing a spark that restores his memory. Upon regaining consciousness, WALL-E finds EVE’s hand in his. In the time that follows, humans, with the robots’ help, restore earth into a paradise. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.