WALL·E (2008)

Director:

Andrew Stanton

Writers:

Andrew Stanton (original story)
Andrew Stanton (story) ...
(more)

Release Date:

27 June 2008 (USA)

Genre:

Animation | Comedy | Family | Romance | Sci-Fi

Tagline:

An Adventure Beyond the Ordinar-E

Plot:

In the distant future, a small waste collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

Plot Keywords:

Satellite | Part Live Action | Tennis | Magnet | Space Junk

US Showtimes:

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Cast

Ben Burtt	...	WALL•E / M-O (voice)
Elissa Knight	...	EVE (voice)
Jeff Garlin	...	Captain (voice)
Fred Willard	...	Shelby Forthright, BnL CEO
MacInTalk	...	AUTO (voice)
John Ratzenberger	...	John (voice)
Kathy Najimy	...	Mary (voice)
Sigourney Weaver	...	Ship's Computer (voice)
rest of cast listed alphabetically:
Kim Kopf	...	Hoverchair mother (voice)
Garrett Palmer	...	Blond boy in BnL commercial (voice) (uncredited)

Directed by
Andrew Stanton

Writing credits
Andrew Stanton		original story &
Andrew Stanton		story and screenplay
Pete Docter		story
Jim Reardon		screenplay

Produced by
Lindsey Collins	....	co-producer
John Lasseter	....	executive producer
Jim Morris	....	producer
Thomas Porter	....	associate producer

Original Music by
Thomas Newman

Film Editing by
Stephen Schaffer

Casting by
Natalie Lyon
Kevin Reher

Production Design by
Ralph Eggleston

Makeup Department
Gretchen Davis	....	key makeup artist

Production Management
Andrea Warren	....	production manager

Art Department
James S. Baker	....	storyboard artist
Bert Berry	....	art director: shading
Anthony B. Christov	....	art director: set (as Anthony Christov)
Jason Deamer	....	art director: characters
Ricardo F. Delgado	....	development artist
Brian Fee	....	storyboard artist
Mark Cordell Holmes	....	art director: graphics
Angus MacLane	....	production artist
Angus MacLane	....	storyboard artist
Kevin O'Brien	....	storyboard artist
Justin Wright	....	storyboard artist

Sound Department
Chris Barron	....	digital sound transferer (as Christopher Barron)
Ben Burtt	....	character voice designer
Ben Burtt	....	sound designer
Ben Burtt	....	sound re-recording mixer
Ben Burtt	....	supervising sound editor
Vince Caro	....	original dialogue mixer
Dustin Cawood	....	sound effects editor
Frank Clary	....	foley recordist
John Countryman	....	digital sound transferer
Teresa Eckton	....	sound effects editor
Coya Elliott	....	assistant supervising sound editor
Sean England	....	foley recordist
Jonathan Greber	....	digital sound transferer
E.J. Holowicki	....	additional sound designer
Bobby Johanson	....	additional dialogue recordist
Doc Kane	....	original dialogue mixer
Zach Martin	....	sound mix technician
Tom Myers	....	sound re-recording mixer
Al Nelson	....	sound effects editor
Juan Peralta	....	foley editor
Frank Rinella	....	foley mixer
Ronald G. Roumas	....	recordist
Kevin Sellers	....	foley editor
Michael Semanick	....	sound re-recording mixer
Tony Sereno	....	sound mix technician
Steve Slanec	....	adr editor
Clint Smith	....	sound recordist
Patrick Spain	....	assistant mix engineer
Dennie Thorpe	....	foley artist
Jana Vance	....	foley artist
Matthew Wood	....	supervising sound editor

Visual Effects by
Frank Aalbers	....	crowds artist
Frank Aalbers	....	effects artist
Frank Aalbers	....	global tech
Josh Anon	....	crowd simulation artist
Jeremy Birn	....	lighting technical director
Stacy Bissell	....	production coordinator: ILM
Brian Boyd	....	master lighting artist
Stephan Vladimir Bugaj	....	shading technical director
Gordon D.B. Cameron	....	production software engineer
Brian Cantwell	....	layout supervisor
Kai Chang	....	digital artist: ILM
Chris Chapman	....	development engineer
Chris Chapman	....	effects sequence lead
Jiayi Chong	....	crowd simulation technical director
Bryan Cline	....	lighting optimization engineer
Trent Crow	....	shading technical director
Simon Dunsdon	....	CG artist: pre-visualisation/layout/modelling
Sean Feeley	....	software development
Susan Fisher	....	rendering supervisor
Christopher Lee Fowler	....	lighting technical director
Sarah Fowler Deluna	....	shading technical director
Diego Garzon	....	effects technical director
Patrick Guenette	....	shading technical director
Christopher James Hall	....	visual effects production supervisor: Kerner Optical
Nigel Hardwidge	....	supervising technical director
Mark Tiberius Henne	....	crowds supervisor
Seth Holladay	....	effects artist
Andrew Jimenez	....	digital artist
Jason Johnston	....	effects sequence lead
Mike Jutan	....	shading technical director
Fran Kalal	....	shading technical director
Paul Kanyuk	....	crowds artist
Kristifir Klein	....	set modeling lead
Tashana Landray	....	software development
William Austin Lee	....	character modeler (as Austin Lee)
William Austin Lee	....	character rigger (as Austin Lee)
David MacCarthy	....	effects supervisor
Carlos Monzon	....	digital compositor
David Munier	....	sets supervisor
Dennis Muren	....	visual effects
Shawn Neely	....	production engineering
George Nguyen	....	technical director
Tom Nixon	....	effects technical director
Brandon Onstott	....	shading technical director
Eric Peden	....	rendering intern
Maxwell Planck	....	shading technical director
Evan Pontoriero	....	modeler
Afonso Salcedo	....	lighting artist
Gary Schultz	....	modeling artist
Manish Sharma	....	technical director intern
Sajan Skaria	....	technical director
Suzanne Slatcher	....	technical director
Keith Stichweh	....	technical director
Eunkyoung Lee Swearingen	....	lighting artist
Pat Tubach	....	digital production supervisor
Gaston Ugarte	....	modeling technical director
Michael Van Eps	....	digital paint and roto supervisor
Esdras Varagnolo	....	lighting
Bill Watral	....	effects artist
Dan Weeks	....	production engineering
Emma Weyerman	....	shading technical director
Andy Whittock	....	digital artist
Athena Xenakis	....	character shading lead

Camera and Electrical Department
Danielle Feinberg	....	director of photography: lighting
Randy Jonsson	....	assistant camera
Jeremy Lasky	....	director of photography: camera
Martin Rosenberg	....	director of photography: live-action

Animation Department
Dovi Anderson	....	crowd animator
Alan Barillaro	....	supervising animator
Brett Coderre	....	animator
Arik Ehle	....	crowd animation lead
Curran W. Giddens	....	animator
Mark Cordell Holmes	....	computer graphics artist
George Hull	....	visual development artist
Steven Clay Hunter	....	supervising animator
Guilherme Sauerbronn Jacinto	....	animator
Todd Krish	....	animation simulation artist
Bruce Kuei	....	animator
Angus MacLane	....	directing animator
Michal Makarewicz	....	animator
Ted Mathot	....	story artist
Victor Navone	....	animator
David Park	....	animation coordinator
Bob Scott	....	animator: end titles
Raphael Suter	....	animator
Rob Duquette Thompson	....	animator
Jeremy Vickery	....	digital artist
Stephen L. Wong	....	crowd animator

Editorial Department
Colin Bohrer	....	editorial manager
Noelle P. Case	....	editorial manager (as Noelle Page)
Axel Geddes	....	second film editor
Anthony Greenberg	....	first assistant editor (as Anthony J. Greenberg)
Jason Hudak	....	associate editor
Glenn Kasprzycki	....	media control transfer operator
Bill Kinder	....	director of editorial and post-production
Kevin Nolting	....	additional editor
Jim Passon	....	color timer
Freesia Pearson	....	post-production assistant
Nicholas C. Smith	....	associate editor

Music Department
Greg Hayes	....	score recordist
Carl Johnson	....	orchestrator
Larry Mah	....	digital score recordist
J.A.C. Redford	....	orchestrator
Patrick Spain	....	scoring assistant engineer
Gary K. Thomas	....	orchestrator

Other crew
Kirsten Ames Staubli	....	assistant production accountant
Cassandra Barbour	....	rights and clearances
Malcolm Blanchard	....	software developer
Susan Bradley	....	title designer
Jim Capobianco	....	titles
Alden Chew	....	software engineer: tools
Per Christensen	....	RenderMan development
Tyler Fazakerley	....	systems administrator
Remy Galang	....	systems administrator
Susan Boylan Griffin	....	technical writer
Jon Hadden	....	systems administrator
Ling Hsu	....	systems administrator
Jason 'Jayfish' Hull	....	systems administrator
Jose Ignacio	....	systems administrator
Ben Jordan	....	software engineer
Ryan Kautzman	....	software engineer
Mark Leone	....	senior software engineer
Marty Lew	....	systems administrator
Matthew Lindahl	....	systems administrator
BoB 'Naked BoB' Morgan	....	systems administrator
Terry Lee Moseley	....	lead system administrator
Silvia Palara	....	software engineer: tools
Martin Reddy	....	software lead
Laura Sevier	....	rights and clearances
David Sotnick	....	systems administrator and support
Mike Sundy	....	systems administrator
Andy Thomas	....	systems administrator
Michael Todd	....	technical director
Erick Tryzelaar	....	rendering systems administrator
Rudy Vucelich	....	color calibration technician
Jay Weiland	....	systems administrator
Ian Westcott	....	systems administrator

Thanks
Steve Jobs	....	special thanks

Production Companies

• Pixar Animation Studios
• Walt Disney Pictures

Distributors

• Buena Vista International (2008) (Brazil) (theatrical)
• Walt Disney Studios Motion Pictures (2008) (USA) (theatrical)
• Buena Vista International (2008) (Argentina) (theatrical)
• Buena Vista International (2008) (Singapore) (theatrical)
• Buena Vista Sony Pictures Releasing (BVSPR) (2008) (Russia) (theatrical)
• Walt Disney Studios Motion Pictures Japan (2008) (Japan) (theatrical)
• Walt Disney Studios Motion Pictures (2008) (Netherlands) (theatrical)
• Walt Disney Studios Motion Pictures (2008) (Singapore) (theatrical)

Special Effects

• Industrial Light & Magic (ILM) (visual effects: live action sequences)

Other Companies

• Entertainment Clearances  rights and clearances
• Skywalker Sound  post-production sound services
• Walt Disney Records  soundtrack

Also Known As:

WALL-E (USA) (alternative spelling)

Runtime:

98 min

Country:

USA

Language:

English

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS-ES | SDDS | Dolby Digital EX

Certification:

South Africa:A | Canada:G (Alberta/British Columbia/Manitoba/Ontario/Québec) | USA:G (certificate #44354) | New Zealand:G | Finland:K-3 | Sweden:Btl | Singapore:G | Argentina:Atp | Peru:PT | Iceland:L | Australia:G | South Korea:All | UK:U | Ireland:G | France:U | Hong Kong:I | Malaysia:U | Netherlands:AL | Brazil:Livre

Company:

Pixar Animation Studios

Trivia:

The film contains numerous references to Apple computers: -when WALL-E is fully charged by the sun, he makes the same "boot up" sound that most of Apple's Macintosh computers have made since circa 1996. -WALL-E watches his favorite movie every night on the screen of an iPod -The villainous Autopilot's voice is provided by Apple's text-to-speech system, MacinTalk -EVE's sleek design as an evolution of WALL-E's parallels the sleek iMac design having evolved from the boxy, beige Apple IIe. Steve Jobs, Founder, Chairman and CEO of Apple Computer, was CEO of Pixar until its acquisition by Disney in 2005, and as a shareholder and member of the Disney Board of Directors is still actively involved with the company.

Goofs:

Continuity: Wall•e first presents the plant to EVE while facing her directly. Later, when EVE replays the same scene in the Captain's quarters, Wall•e is shown holding the plant from a 3/4 profile.

Quotes:

[last lines]
Captain: This is called farming! You kids are gonna grow all sorts of things! Vegetable plants, pizza plants... it's good to be home!

Movie Connections:

Featured in "Just In with Laura Ingraham: (2008-07-01)" (2008)

Soundtrack:

La Vie en Rose

An A+ for Wall-E! One of the best movies this century!

Wall-E is the movie experience I've been looking for. I haven't seen a new film this richly entertaining, thrilling, touching and satisfying since Spider-Man 2. It is truly the finest Pixar or animated CGI film to date. I can discuss it without spoilers easily because it's one of those films, like 2001: A Space Odyssey, that exists more as a pure experience of the heart and the senses than as a collection of events that we're supposed to keep track of intellectually. Wall-E rises above that kind of unnecessary complication into the same kind of space occupied by dreams and the imagination.

This film is beautifully animated, of course, to that magical Pixar point where even piles of what should be disgusting trash somehow look breathtakingly gorgeous and even fairly realistic-looking roaches look cute. But much more importantly, the heart, the emotion in this movie is unlike anything I've experienced at the cinema since Forrest Gump. Certainly my tear ducts have not welled up while watching a movie this much since then. I fell in like with the character of Wall-E when I saw the trailer. Watching the movie, I fell in love with him within about 2 minutes. Shortly after that, I fell in love with the idea of Wall-E falling in love.

My previous favorite movie romance is Superman and Lois Lane in the original Superman films. The love story, or the love experience of Wall-E and Eve is perhaps the first I've seen since then that operates at and succeeds on that same level. These couples create an uncomplicated, innocent, simple, yet deep and powerful bond. They capture the experience of love at first sight, writ large. They possess an instant chemistry that tells you they belong together from the first time they see one another and makes you root for their relationship throughout the film. Wall-E and Eve share moments together of real cinematic beauty, true hilarity, frightening sadness, frustrating difficulty and delightful satisfaction. It's a testament to the level of genius at which the Pixar storytellers are operating that we feel every beat of this relationship resonate every step of the way despite the fact that the characters are robots that are not modeled off of humans and speak no more than a handful of words throughout the movie (this animated movie is refreshingly free of obvious "guest star" voices or any over-the-top stand-up comedians trying to upstage the movie).

Just like in the first Superman films, once you care about the characters as individuals and care about their relationship, it's almost impossible for the rest of the movie not to work. You're hooked at hello. Wall-E adds all the expected complications to keep the would-be lovers from getting together most of the time. There is a truly great "McGuffin" that keeps the heroes and villains busy for quite a while (the item in question is something outwardly simple that ends up holding the key to something more important than anything in the world). The pacing during most of these adventures is as breakneck as anything out of the Star Wars films and the action is always staged with crystal clarity. There are several scenes of peril for Wall-E that are reminiscent of that oddly powerful sequence in Short Circuit 2 when Johnny 5 is almost killed. The filmmakers pull absolutely no punches when it comes to running your heart through the ringer over characters you care about. It probably helps that you can do a lot more physical damage to a robot character than you can to a human character while keeping a G rating and still getting the audience dramatically worried about their survival.

Even on top of the action, the emotion, the visuals and the humor, Wall-E goes the extra mile into thought-provoking thematic territory. The film never hits you over the head with anything preachy and doesn't really even outright tell you what its opinions on the subjects it raises are. It also doesn't explicitly lay out explanations for everything that exists in Wall-E's world (there are no "talking killer" scenes and very little verbal exposition). I think the bits of ambiguity work here because they add to the sense of mystery, helplessness and alienation that most of the characters in the movie feel to some degree.

There are human characters in this movie too, quite a few. I think that's necessary because if humans aren't shown in a robot world, you have to wonder what purpose were the robots designed to serve? That was a curiosity of the earlier CGI movie, Robots. Most of the humans in Wall-E aren't as developed as the robots, but I think that's because they exist more to represent the whole of humanity rather than particular individuals. We're asked to ponder the consequences of the choices they make as though the whole society was moving in that direction, not just one person. Wall-E and Eve are the heart of this movie but the humans are used to add some intellectual gravity for the audience to chew on.

Other choices made in the movie might also leave room for debate, such as the integration of some live-action footage into the film. But because the movie as a whole is so audaciously stimulating and brilliantly satisfying, it's a plus that they left us with a few unresolved or unusual things to think about and question after getting off of the great emotional and visual roller-coaster experience. Wall-E truly serves up everything that I think an audience could want in a movie experience. It will be very easy for me to watch this one over and over again. It is a modern-day classic that I believe should earn a place in cinema history as the "2001" of CGI animated films, both of them movies of indisputable brilliance, unyielding imagination and unending entertainment.

Footnote: The pre-movie short is an awesome, violent Looney Tunes/Roger Rabbit-esquire toon. It wants only to entertain and does.