WALL-E (stylized with interpunct like WALLÃ, Â · E ) is a 2008 American science fiction science fiction comedy produced in 2008 Pixar Animation Studios for Walt Disney Pictures. The book is directed and co-written by Andrew Stanton, produced by Jim Morris, and co-authored by Jim Reardon. It stars Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, Sigourney Weaver and MacInTalk systems, and is the ninth feature film produced by the company. It follows the robot trash robot in a deserted world, left to clean up the largely abandoned city. However, he was visited by a probe sent by the Axiom ship, which he loved and pursue throughout the galaxy.
After directing Finding Nemo, Stanton feels Pixar has made a reliable underwater physics simulation and is willing to direct films that are mostly set in space. WALL-E has minimal dialogue in the initial order; many characters have no voice, but communicate with body language and robot voice designed by Burtt. The film criticizes consumerism, corporatism, nostalgia, waste management, impact and human environmental concerns, obesity, and global disaster risks. This is also Pixar's first animated film with segments featuring live action characters. Following the Pixar tradition, WALL-E is paired with a short movie titled Presto for theatrical release.
WALL-E was released in the United States on June 27, 2008. The film is an instant film, grossing $ 533.3 million worldwide with a $ 180 million budget, and won the 2008 Golden Globe Award for Animated Feature Best Films, Hugo Awards 2009 for Best Long Shaped Drama Presentation, Nebula Award for Best Screen Bests, Saturn Award for Best Animated Film and Academy Award for Best Animation Feature with five nominations. The film also topped the Time ' list of "Best Movies of the Decade", and in 2016 was voted 29th among the 100 best-considered films of the 21st century by 117 film critics from all over world.
Video WALL-E
Plot
In the year 2805, Earth was a dystopian planet abandoned and covered by rubbish, with its people evacuated by Buy-N-Large megacorporation on a gigantic star giant. BnL has left the WALL-E waste compactor robot to clean; However, everything has since ceased functioning, except for one unit that has gained the centience and is able to stay active using parts from other units. One day, WALL-E found a healthy seed, which he returned to his home. Then, an unmanned spacecraft landed and deployed an EVE probe to scan the planet. WALL-E is crazy about EVE, who was initially hostile but gradually befriended him. When WALL-E brings EVE to his trailer and shows him the plant, however, he suddenly picks up the plant and goes into standby mode. WALL-E, confused, unsuccessfully trying to re-enable it. The ship then returns to collect EVE, and with WALL-E stuck, back to its mother, starliner Axiom .
The Axiom passengers have become fat and weak due to microgravity and dependence on automatic lifestyles, including the current ship captain, McCrea, who left the ship under the control of a robotic autopilot, Automatic. EVE is brought to the bridge, with WALL-E tagging together. McCrea is not ready for a positive probe response, but learns that placing EVE plants in the Holo-Detector ship for verification will trigger a hyperjump back to Earth so that humanity can mengkolonalnya. However, Auto instructs his robot assistant, GO-4, to steal the crop to prevent this from happening. EVE originally believed WALL-E was responsible for the loss of the factory.
With the loss of the plant, EVE is considered damaged and taken to Diagnostics. WALL-E misinterpreted the procedure as torture, and in the intervention inadvertently freed a group of non-functioning robots and caused EVE and himself set up as a mischievous robot. Frustrated, EVE brings WALL-E to the runaway pod to send it home, but they are interrupted when GO-4 arrives with a plant, placing it in a pod set to self-destruct, which WALL-E enters just before being thrown away. WALL-E escapes, saves the factory, and he and EVE reconcile and celebrate with a dance in the space around the Axiom .
EVE brings the plant back to Captain McCrea, who watches EVE Earth recordings and concludes that they must return. However, Auto refused, revealing a secret directive without A113's own refund, was issued for BnL autopilots after the company concluded in 2110 that the planet could not be saved. He rebels, swings WALL-E and disables EVE and throws them both into the trash can, then holds the Captain. EVE is automatically reactivated and helps WALL-E bring the plant to the Holo-Detector ship room; Auto tries to close the room, destroying WALL-E as he struggles to stay open, but Captain McCrea can disable it and destroy the GO-4, while EVE enters the plant to activate the hyperjump.
Upon arriving back on Earth, EVE fixed and reactivated WALL-E, but found that his memory was reset and his personality disappeared. Heartbroken, EVE gives WALL-E a farewell kiss, which triggers his memory back to life and restores his original personality. WALL-E and EVE reunited as humans and robots from Axiom begin to recover Earth and its environment.
Maps WALL-E
Cast
- Ben Burtt as WALL-E (Waste Load Allocation: Earth Class), title character. WALL-E, a robot that has developed consciousness, and is the only robot of its kind that proves to still function on Earth. It is a small mobile compactor box with all-terrain footprint, three-fingered hand shovel, binocular eyes, and solar cells that can be pulled for power. Despite working diligently to fulfill his direction to clean up the garbage (while accompanied by Hal's cock friends and music playing from on-board recorders) he is distracted by his curiosity, collecting floral trinkets. He stores and displays this "treasure" like a bird cage full of rubber ducks, Rubik's Cube, Zippos, disposable cups filled with plastic cutlery and gold chalice at his home where he checks and categorizes his invention while throwing items such as diamonds ringing, and watching videotapes Hello, Dolly! via iPod viewed through large Fresnel lenses.
- Burtt is also credited for the sound of M-O (Microbe-Obliterator), a small, clean obsessive clean cleaner with a roller for the sleeve that makes Axiom's axiom clean.
- Elissa Knight as EVE (Extra-terrestrial Vegetation Evaluator), a slender robot probe whose directive is finding vegetation on Earth and verifying eligibility. She has a shiny white egg-shaped body and blue LED eyes. He moves on anti-gravity technology and is equipped with a scanner, a specimen storage and a "cannon ion quasar" on his arm, which he uses quickly.
- Jeff Garlin as Captain B. McCrea, commander of Axiom . He is just a puppet, with an autopilot ship that handles all the correct command functions.
- Fred Willard as Shelby Forthright, the historical CEO of Buy n Large Corporation, is only featured in a video recorded around the time of the initial launch of Axiom '. Always optimistic, Forthright proposes an evacuation plan, then cleans and colonizes the planet. However, the company gave up after realizing how toxic the Earth is. Forthright is one of several direct action characters with a speaking role, the first in any Pixar movie.
- John Ratzenberger and Kathy Najimy as John and Mary, respectively. John and Mary both live in Axiom and rely heavily on personal video screens and automated services for those unaware of their surroundings, for example not realizing that the ship has a giant pool. However, they got out of their trance after a separate meeting with WALL-E, finally meeting face-to-face for the first time.
- Sigourney Weaver as a computer voice Axiom '. Stanton joked about his role with Weaver, saying, "You realize you'll be 'Mom' now?" refers to the name of the ship's computer in the film Alien , which also stars Weaver.
- MacInTalk, a text-to-speech program for Apple Macintosh computers, is used for Auto sound, fake artificial intelligence built-in autopilot. Unlike other robots in the film, Auto is not influenced by WALL-E, but instead follows the A113 directive, which prevents Axioms and humans from returning to Earth due to toxicity, and it works to prevent anyone from deviating from it.
Production
Write
Andrew Stanton contained WALL-E at lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story is nearing completion and the authors brainstorm ideas for their next project - Bug Life , Monster, Inc. , and Finding Nemo - during this lunch. Stanton asks, "What if man had to leave Earth and someone forgot to turn off the last robot?" After struggling for years by making the characters in Toy Story interesting, Stanton found his simple Robinson Crusoe idea of ​​a lonely robot on a powerful lonely planet. Stanton made WALL-E a garbage collector because the idea was immediately understandable, and because it was a low-ranking, harsh job that made him sympathetic. Stanton also likes the image of a pile of garbage cubes. He did not find the idea dark because having a planet covered in rubbish was for him to imagine a childish disaster.
Stanton and Pete Docter developed the movie titled Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monster, Inc. Alien . O'Bannon wrote the manuscript in a way that Stanton found reminiscent of haiku , in which the visual description is done in the continuous lines of several words. Stanton wrote his conventional robot dialogue, but placed it in parentheses. At the end of 2003, Stanton and several others made a scroll from the first twenty minutes of the film. Lasseter and Steve Jobs were impressed and officially started development, although Jobs stated he did not like the title, originally spelled " W.A.L.-E. "
While the first action of WALL-E "fell from the sky" for Stanton, he originally wanted the aliens to plant EVE to explore Earth and other films differently. When WALL-E came into the Axiom, he instigated Spartacus-a robot-style rebellion against the remnants of mankind, which are aliens of Gels aliens (fully displaced, gelatin, boneless , without legs, see-through, green creatures that resemble Jell-O). James Hicks, a physiologist, told Stanton the concept of atrophy and its prolonged effects on humans living in space for a very long time. Therefore, this is the inspiration of the declining human being of Gels aliens, and their ancestors will be revealed in the Planet of the Apes -style ending. The Gels also speaks artificial nonsense, but Stanton cancels this idea because he thinks it will be too complicated to be understood by the audience and they can easily be kicked out of the storyline. The Gel has a royal family, which organizes dances in a castle on the lake behind the ship, and the Axiom huddles into a ball when it returns to Earth in the incarnation of this story. Stanton decided this was too odd and unattractive, and contained humanity as a "big baby". Stanton developed a metaphorical theme of a man who learned to stand up again and "grow," wants the WALL-E and EVE relationships to inspire mankind as he feels some film explores how the utopian society emerged. The process of describing the offspring of mankind as the way they appear in the film is slow. Stanton first decided to put a nose and ear on Gel so the audience could recognize them. Finally, the fingers, feet, clothing, and other characteristics are added until they arrive at the concept of being like a fetus to allow viewers to see themselves in character.
In the next version of the movie, Auto comes to docking bay to pick up EVE plants. The film will be the first cutaway to the captain, but Stanton moved him because he feels it is too early to start moving away from WALL-E's point of view. In honor of Get Smart, Auto takes plants and enters the ship's belly into a brain-like space where he watches the Buy n Large video scheme to clean up the messy Earth through the year. Stanton removes this to save the mystery of why plants are taken from EVE. The captain did not seem smart, but Stanton wanted him not to be challenged; otherwise he will become unclear. One example of how unintelligent the captain is depicted at first is that he is seen wearing his cap upside down, only to fix it before he challenges Auto. In the finished film, she just wore it casually over her head, tightening it when she actually took over the command of the Axiom .
Initially, EVE will be electrocuted by Auto, and then quickly saved from ejection in the hands of WALL-A robot by WALL-E. He will then turn it back on by replacing its power unit with the cigarette lighter it carries from Earth. Stanton reversed this after the 2007 screening test, as he wanted to show EVE replacing his leads bringing the plant to the captain by fixing WALL-E, and it made WALL-E even more heroic if he held an open holo detector despite being seriously injured. Stanton also moved the moment when WALL-E revealed the plant (which he took from a self-defeating pod escape) from producing it from the closet until immediately after the escape, because it made EVE happier and gave them a stronger motivation to dance around. ship. Stanton felt half the audience at screening believed that humans would not be able to survive on Earth and would die after the movie ended. Jim Capobianco, director of the short film Ratatouille Design
WALL-E is the most complicated Pixar production ever since Monsters, Inc. because of the world and history to be conveyed. While most Pixar movies have up to 75,000 storyboards, WALL-E requires 125,000. Production designer Ralph Eggleston wants the first act of acting on Earth to be romantic, and the second action on the Axiom is cool and sterile. During the third action, romantic lighting is slowly introduced into the Axiom environment. Pixar studied Chernobyl and the city of Sofia to create a ruined world; art director Anthony Christov is from Bulgaria and tells us that Sofia used to have a problem keeping his trash. Eggleston whitens whites on Earth to make WALL-E feel vulnerable. The light is too bright to make the location look more spacious. Due to the blurring, the cubes that make up the tower must be large, otherwise they will lose shape (in turn, this helps save time rendering). The dull colors of the Earth subtly become pink and soft blue when EVE arrives. When WALL-E shows EVE all the items it collects, all the lights that it collects are lit up to provide an inviting atmosphere, like a Christmas tree. Eggleston tries to avoid yellow and green so that WALL-E - made yellow to mimic the tractor - will not blend into a lonely Earth, and make plants stand out.
Stanton also wants his lighting to look realistic and evoke his youthful science fiction films. He thinks that Pixar catches physics underwater with Finding Nemo and so for WALL-E, he wants to push it to the air. While playing some of his favorite science fiction films, he realizes that other Pixar movies do not have a 70 mm film display and their barrel distortions, lens flares, and racking focus. Producer Jim Morris invites Roger Deakins and Dennis Muren to advise on lighting and atmosphere. Muren spent several months with Pixar, while Deakins delivered a lecture and was asked to stay 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 complicate the camerawork and their lighting. 1970s Panavision cameras are used to help animators understand and replicate handheld imperfections such as non-focused backgrounds in digital environments. The first lighting test included building a three-dimensional replica of WALL-E, filming it with a 70 mm camera, and then trying to replicate it on a computer. Stanton cites the superficial lens work of the movie Gus Van Sant as an influence, because it creates intimacy in every close-up. Stanton selects a corner for the virtual camera that will be chosen by live-action filmmakers if shooting in a set.
Stanton wants the Axiom interior ' to resemble Shanghai and Dubai. Eggleston studied NASA's 1960s paintings and the original art concept for Tomorrowland for the Axiom , to reflect the sense of optimism that era. Stanton said, "We may all be very similar in our background here [in Pixar] because we all miss Tomorrowland promised to us since the heyday of Disneyland," and wanted a "jet pack" feeling. Pixar also studied the Disney Cruise Line and visited Las Vegas, which was very helpful in understanding artificial lighting. Eggleston bases the design of Axiom on the futuristic architecture of Santiago Calatrava. Eggleston divided the interior of the ship into three parts; the rear economic class has a basic gray concrete texture by keeping the graphics to red, blue, and white from the BnL logo. The coach class with living/shopping space has an "S" shape because people are always looking for "what's on the corner". Stanton intends to have many colored marks, but he realizes this will flood the audience and go with Eggleston's original idea of ​​a smaller number of bigger signs. The premier class is a large spa like Zen with limited colors on turquoise, beige and chocolate, and leads to a warm captain and wooded abode of skimpy captain and dark bridge. In accordance with the artificial axioms, camera movements are modeled after steadicam movements.
The use of direct action is a stepping-stone for Pixar, as Stanton plans to make the next project of John Carter of Mars . Storyboarder Derek Thompson noted introducing live action means that they will make the rest of the movie look more realistic. Eggleston added that if human beings were historically animated and fewer caricatures, then the audience would not be able to recognize how serious their devolution is. Stanton portrays Fred Willard as CEO of Buy n Large because "[h] e is the most friendly and insincere car salesman I can think of." The CEO said "nonetheless", which Stanton used because he thought it was funny. Industrial Lights & amp; Magic does a visual effect for this shot.
Animation
WALL-E did not grow during the 1990s partly because Stanton and Pixar have not been confident enough to have a long movie with a main character who behaves like Luxo Jr. or R2-D2. Stanton explains there are two types of robots in the cinema: "man [s] with metal leather", such as Tin Man, or "machine [s] with functions" like Luxo and R2. He found the last idea "powerful" because it allows the audience to project personality to characters, as they do with babies and pets: "You are forced... You can barely restrain 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! '"He added," We want the audience to believe that they are witnessing a living machine. "The animators visit the recycling station to study the machinery, and also meet with the robot designer, visited NASA's Jet Propulsion Laboratory to study robots, watch footage from Mars explorers, and borrow a bomb detection robot from the San Francisco Police Department. Simplicity is preferred in their appearance because giving them too much movement will make them feel like humans.
Stanton wants WALL-E to be a box and EVE becomes like an egg. Eye WALL-E was inspired by a pair of binoculars Stanton was given when watching the Oakland Athletics play against the Boston Red Sox. He "missed the whole innings" because he was annoyed by them. The director was reminded of Buster Keaton and decided the robot did not need a nose or mouth. Stanton added a zoom lens to make WALL-E more sympathetic. Ralph Eggleston noted this feature gives more animators to work and gives quality robots like little ones. Pixar's study of garbage compactors during their visit to the recycling station inspired his body. The tanks are inspired by a wheelchair developed by someone who uses a tread rather than a wheel. The animator wants him to have an elbow, but realizes this is not realistic because he's just designed to pull the garbage into his body. His arms also looked fragile when they did a test waving at him. Animation director Angus MacLane suggested that they stick their arms to the tracks on their sides to move them, based on the inkjet printers his father designed. The design of this arm contributes to creating the character's posture, so if they want him to be nervous, they will lower it.
Stanton wants EVE to be on the edge of higher technology, and asks designer iPod Jonathan Ive to check its design. He was very impressed. His eyes were modeled on the Lite-Brite toy, but Pixar chose not to make them too expressive because it would be too easy to have his eyes turn to heart to express love or something similar. The limited design means that the animator should treat it like a picture, relying on his body pose to express emotions. They also find it similar to a manatee or narwhal because its floating body resembles a creature underwater. Auto is a conscious reverence for HAL 9000 from 2001: A Space Odyssey , and the use of Also sprach Zarathustra for a confrontation between Captain McCrea and Auto furthers. The way in which he hung on a wall or ceiling gave him a threatening feel, like a spider. Originally, Auto was designed entirely differently, resembling EVE, but masculine and authoritative; Robot Steward is also more aggressive Patrol-bot. The majority of the robot players are formed with Build-a-bot programs, where different heads, arms and treads are combined together in over a hundred variations. Humans are modeled on sea lions because of their reckless bodies, as well as babies. The filmmakers see baby fat much tighter than adult fat and copy that texture to human film.
To animate their robots, film crew and animated film crew watched Keaton and Charlie Chaplin movies every day for almost a year, and sometimes a picture of Harold Lloyd. After that, the filmmakers know all the emotions can be conveyed secretly. Stanton quotes Keaton's "big face" as giving them perseverance in animating a character with an unchanging expression. As he repeats it, Stanton feels that filmmakers - since the advent of sound - rely on too much dialogue to convey exposition. The filmmakers dub WOO-E cockroaches remain as "Hal" pets, referring to Hal Roach's silent film producer (as well as being an additional reference to HAL 9000). They also watched 2001: A Space Odyssey , The Black Stallion and Never Cry Wolf , a movie that has a voice but does not rely on dialogue. Stanton acknowledged Silent Running for influence because his silent robot was a pioneer for people like R2-D2, and that Woody Allen's "hopeless romantic" also inspired WALL-E.
​​â € <â €
Producer Jim Morris recommends Ben Burtt as the sound designer for WALL-E because Stanton still uses R2-D2 as a benchmark for robots. Burtt has completed Star Wars Episode III Revenge of the Sith and told his wife that she will no longer work in movies with robots, but finds WALL-E and substitutions sound with a "fresh and interesting" sound. He recorded 2500 votes for the film, which is twice the average number for Star Wars movies, and a record in his career. Burtt started work in 2005, and experimented with his voice for two years. Burtt describes the robot's voice as "like a toddler [...] universal language intonation. 'Oh', 'Hm?', 'Huh!', You know?"
During production Burtt had a chance to see the stuff used by Jimmy MacDonald, the Disney sound designer for many of their classic movies. Burtt uses many MacDonald items in WALL-E . Because Burtt not only adds post-production sound effects, the animator always evaluates his new creations and ideas, which Burtt finds an unusual experience. He works in harmony with the animator, restores their animation after adding sound to give them more ideas. Burtt will choose a scientifically accurate voice for each character, but if he can not find one that works, he will choose a dramatic and unrealistic sound. Burtt will find hundreds of voices by looking at the concept of character art, before he and Stanton peel it into several different ones for each robot.
Burtt sees a hand-turn electric generator while watching Island in the Sky, and buys the same device, which was unloaded from 1950 on eBay to use for WALL-E moves. Burtt also uses a self-starter car when WALL-E runs fast, and the sound of a crushed car in the demolition dock is provided to compress WALL-E trash on his body. Computers combined with Macintosh are used to signify when WALL-E has fully recharged the battery. For EVE, Burtt wants him to hum to have music quality. Burtt was only able to vote neutrally or masculine, so that Pixar's employee Elissa Knight was asked to vote in order for Burtt to electronically modify it. Stanton thought the sound effects were good enough to put his role right. Burtt recorded a 10-foot (3.0 m) radio-controlled jet to fly EVE, and for his plasma cannon, Burtt hit a slinky hung from a ladder with a tympanic stick. He describes it as a "cousin" for the blaster sound of Star Wars .
MacInTalk is used because Stanton "wants Auto to be a robot, cold, zero & amp; people, counting, and soulful [and] kind of Stephen Hawking sound that I think is perfect." The extra voice for the character is meant to give him the nuances of the clock, to show he always thinks and counts.
Burtt had visited Niagara Falls in 1987 and used the tape of his journey to hear the sound of the wind. He ran around the hall with a canvas bag to record a sandstorm though. For the scene where WALL-E runs from a falling shopping cart, Burtt and his daughter go to the supermarket and put a recorder on their cart. They bumped him around the parking lot and then let him fall into the hill. To make Hal (WALL-E's pet cockroach) move fast, he recorded a click sound caused by disassembling and reassembling the handcuffs.
Music
Thomas Newman joined Stanton on WALL-E because they both got along well at Nemo , which gave Newman the Annie Award for Best Music in Animation Feature. He started writing scores in 2005, in the hope that starting this task early would make him more involved with the finished film. However, Newman says that animation is heavily dependent on scheduling, he should start working early when Stanton and Reardon write the script. The EVE theme was set for the first time in October 2007. The theme when played when he first flew around Earth initially used more orchestra elements, and Newman was encouraged to make it sound more feminine. Newman says Stanton has thought of many ideas about how he wants music to sound, and he generally follows them when he finds scoring a partly desolate film. Stanton wants the whole score to be an orchestra, but Newman feels limited by this idea especially in the scene above Axiom , and uses electronics as well.
Stanton initially wanted to juxtapose the opening image of the space with the 1930s French swing music, but he saw The Triplets of Belleville (2003) and did not want to appear as if he copied it. Stanton then thinks about the song "Wear Your Clothes on Sundays" from Hello, Dolly! Because he described Barnaby Tucker as a pair of high school production in 1980. Stanton found that the song tells of two naive young men looking for love, which are similar to WALL-E's expectations for friendship. Jim Reardon suggested WALL-E to find the movie on the video, and Stanton put "It's Just Taking Moment" and clips from the actors holding hands, because he wanted a visual way to show how WALL-E understands love and passes it on to EVE. Hello Dolly! composer Jerry Herman allows songs to be used without knowing for what; when he sees the film, he finds his merger into the "genius" story. Coincidentally, Uncle Newman, Lionel, did Hello, Dolly!
Newman went to London to write the final credit song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians. After that, Newman resumes some movies to include the composition of the song, so it does not sound annoying when played. Louis Armstrong's appearance of "La Vie en rose" was used for the montage in which WALL-E did not get EVE's attention on Earth. The script is also determined using "Stardust" Bing Crosby for when two robots dance around the Axiom , but Newman asks if he can judge the scene itself. A similar transition takes place in the order in which WALL-E seeks to awaken EVE in various ways; Initially, the montage will play with the instrumental version of "Raindrops Keep Fallin 'on My Head", but Newman wants to challenge himself and print original works for his sequence.
Themes
The film is recognized as a social critic. Katherine Ellison asserted that "America produces nearly 400 million tons of solid waste per year but recycles less than a third of it, according to a recent Columbia University study." The landfills fill up so fast that the UK can run out of landfill by 2017.
Environment and remove
Since WALL-E is openly criticizing consumerism, it also criticizes Disney's production and aesthetic value, without being too clear. In a DVD commentary, Stanton said that he had been asked if it was his intention to make a movie about consumerism. The answer is no; it is a way to answer the question of how the Earth will get to a state where one robot will be left to continue cleaning by itself.
In "WALL-E: from environmental adaptation to sentimental nostalgia," Robin Murray and Joseph Heumann explain the important themes of nostalgia in this film. Nostalgia is clearly represented by human artifacts, abandoned, that WALL-E gathers and appreciates, for example Zippo lighters, hubcaps, and plastic sporks. The modern goods we use from necessity, made sentimental through the gloomy lens of Earth's future. Nostalgia is also expressed through a musical score, when the film opens with a shooting of space cameras that slowly enlarge to Earth filled with garbage while playing "Wear Your Sunday Clothes", reflecting a simpler and happier time in human history. The film also expresses nostalgia through the longing of nature and the natural world, such as the visions and feelings of the land, and the plants are brought back to the spacecraft by EVE, which makes the captain decide it is time for humans to move back to earth. WALL-E expresses nostalgia as well, reflecting on the romantic themes of Disney movies and older silent films.
Stanton describes the movie's theme as "the irrational love of life programming":
I realize the point I try to push with these two programmed robots is their desire to try and figure out what the essence of life is... It takes this unreasonable act of love to figure out how they are built... I realize that it is a perfect metaphor for real life. We all fall into our habits, our routines and our habits, consciously or unconsciously to avoid life. To avoid having to do messy parts. To avoid connecting with others or dealing with the person next to us. That's why we can all use our phones and not have to deal with each other. I thought, 'It is a perfect amplification of the entire core of the film.' I want to run with science in a way that will logically project it.
Technology
Stanton noted that many commentators place an emphasis on the environmental aspects of human satisfaction in the film, because "the disconnection will be the cause, indirectly, of everything that happens in a bad life for humanity or the planet." Stanton says that by taking efforts to work, the robot also takes the human need to seek relationships. Christian Journalist Rod Dreher sees technology as a complicated criminal in this film. The man-made lifestyles in the Axiom have separated them from nature, making them "slaves of their own technology and basic tastes, and have lost what made them human." Dreher compares the WALL-E that works hard and is covered in dust with a sleek, clean robot on board. However, it is a human being and not a robot that makes themselves redundant. Humans on ships and on Earth have used robots and ultra-modern technology in excess. During the final credits, humans and robots are shown working together to update the Earth. "WALL-E is not a Luddite movie," he said. "It does not disparage technology, it simply states that technology is used appropriately to help people cultivate their true nature - that it should be a growing human subordinate, and help move it."
Religion
Stanton, who was a Christian, named EVE after the biblical figure because of WALL-E's loneliness reminded him of Adam, before God created his wife. Dreher recorded EVE's Bible nickname and saw his direction as an inversion of the story; EVE uses plants to tell humans to return to Earth and away from the "false gods" of BnL and the lazy lifestyle it offers. Dreher also records this departure from a classical Christian point of view, where Adam is cursed to work, in that case WALL-E argues that hard work is what makes man human. Dreher emphasizes parallel god false for BnL in scenes where the robot teaches the baby "B is for Buy n Large, your best friend", which he compares with a modern company like McDonald's creates brand loyalty in children. Megan Basham from the magazine World feels this film is criticizing the pursuit of leisure, while WALL-E in stewardship learns to truly appreciate God's creation.
During the writing, a Pixar employee notes to Jim Reardon that EVE is reminiscent of an olive with an olive branch of the Noah's Ark story, and the story is reworked with EVE finding plants to restore mankind from its voyage. WALL-E itself has been compared to Prometheus, Sisyphus, and Butades: in an essay that discusses WALL-E as a representative of Pixar's artistic endeavor itself, Hrag Vartanian compares WALL-E with Butades in a scene where robots express their love for EVE by making statue of himself from spare parts. "Ancient Greek tradition links the birth of art with a Corinthian girl who longs to keep his lover's shadow on the wall before he leaves for war, which reminds us that art is born out of longing and often means more to the creator.In the same way Stanton and his Pixarnya team have told us a very personal story about their love of cinema and their vision for animation through the prism of all kinds of relationships. "
Release
Continuing the Pixar tradition, WALL-E is paired with a short film for theatrical release, Presto . The film is dedicated to Justin Wright (1981-2008), a Pixar animator who has worked on Ratatouille and died of a heart attack before WALL-E ' s release.
Walt Disney Imagineering (WDI) built animatronik WALL-E to promote the image, which made appearances at Disneyland Resort, Franklin Institute, Miami Science Museum, Seattle Center and Tokyo International Film Festival. Due to security concerns, the 318kg robot is always tightly controlled and WDI always needs to know exactly what it takes to interact with them. For this reason, they generally refuse to have their puppets meet and greet the children in the playground if there is a WALL E step on the child's foot. Those who want to take photos with characters must be satisfied with the piece of cardboard.
A small amount of merchandise is sold for WALL-E , since Car items are still popular, and many manufacturers are more interested in Speed ​​
The film is not allowed to be screened in cinemas in the People's Republic of China by the authorities there.
Home media
The film was released on DVD and Blu-ray Disc by Walt Disney Studios Home Entertainment on November 18, 2008. Various editions including Presto , new short film BURN-E , documentary Leslie Iwerks The Pixar Story , shorts on the history of Buy @ Large general features, behind the scenes, and Digital Copies of movies that can be played through iTunes or Windows Media and compatible devices. The release sold 9,042,054 units of DVD ($ 142,633,974) to a total of two best-selling animated DVDs released in 2008 in units sold (behind Kung Fu Panda ), the best-selling sales animation feature in sales revenue, and third best-selling among all DVD 2008.
Reception
box office
WALL-E earned $ 223.8 million in the US and Canada and $ 309.5 million overseas for a worldwide total of $ 533.3 million making it the ninth best-selling film of 2008.
The film premiered at the Greek Theater in Los Angeles on June 23, 2008.
In the US and Canada, it opened in 3,992 theaters on June 27, 2008. During its opening weekend, it topped the box office with $ 63,087,526 making it the fifth best opening weekend for the Pixar movie and the fourth best opening among the films released. in the month of June. The film earned $ 94.7 million in its first week and passed the $ 200 million mark over its sixth weekend.
WALL-E produced over $ 10 million in Japan ($ 44,005,222), UK, Ireland and Malta ($ 41,215,600), France and the Maghreb region ($ 27,984,103), Germany ($ 24,130,400 ), Mexico ($ 17,679,805), Spain ($ 14,973,097), Australia ($ 14,165,390), Italy ($ 12,210,993), and Russia and CIS ($ 11,694,482).
Critical response
American Film Institute named WALL-E as one of the best films of 2008; state jury states:
WALLOE is evident in this generation and beyond that the only film media limit is human imagination. Writer/director Andrew Stanton and his team have created a classic screen character from a metal dumpster that rides to save a planet buried in debris that embodies the broken promise of American life. Not since Chaplin's "Little Tramp" has so many stories - so much emotion - has been delivered without words. When hope arrives in the form of a nursery, the film evolves into one of the big screen romances when two robots remind viewers of heartbeats to all of us who miss humanity - and love - in the darkest landscape.
The review website of Rotten Tomatoes reports that 96% of critics gave a positive review of the movie, based on a sample of 249 reviews, with an average rating of 8.6/10. The site's important consensus reads, "Visual Wall-E stares once again for Pixar ingenuity , while the captivating star will captivate the younger audience - and the timely story offers a subtext of thought. " At Metacritic, which gives a normalized ranking of 100 to reviews of major critics, the film received an average score of 95 based on 39 representing "universal recognition". indieWire named the third best movie of the year based on their annual survey of 100 film critics, while Movie City News showed that WALL-E appeared on 162 different Top 10 lists, of 286 different criticism lists surveyed, most mentioned in the top 10 list of any movie released in 2008.
Richard Corliss of Time was named
Todd McCarthy of Variety calls the film "The ninth consecutive miracle of Pixar", saying it's imaginative but straightforward. He says it pushes the boundaries of animation by balancing esoteric ideas with more accessible ones, and that the main difference between film and other science fiction projects is rooted in doomsday is its optimism. Kirk Honeycutt of The Hollywood Reporter states that WALL-E exceeds the achievements of the previous eight features of Pixar and perhaps their most original movie to date. He says it has "heart, soul, spirit and romance" of the best silent film. Honeycutt said the brilliant sharpness of the film uses a mixture of film recording and computer graphics to spark WALL-E's romantic trend. He praised Burtt's sound design, saying, "If there's something like a hand magician, here it is."
Roger Ebert of the Chicago Sun-Times named the WALL-E a fascinating animated movie, a visual miracle, and a fictional science story worthy "and said the scarcity of dialogue would allow for "cross-language barriers" in a manner consistent with a global theme, and keeping track of them will appeal to adults and children. He praised the animation, describing the color palette as "bright and cheerful [...] and a bit realistic", and that Pixar succeeded in generating "curious" with respect to WALL-E, comparing it to "rusty and hard-working and courageous" positive designs for effort which is more obvious in creating the main character "loved". He said WALL-E is concerned with ideas rather than spectacle, saying it will trigger stimulating "small minds for younger viewers." He named it one of his twenty favorite movies in 2008 and argues it is "the best science fiction film in years".
The film is interpreted as a topical, ecologically minded agenda, though McCarthy says it does so with a light touch given the viewer's ability to accept or ignore messages. Kyle Smith of the New York Post , writes that by describing future humans as "a large group of idiots boarded by people who are really too fat to walk", WALL-E more dark and more cynical than any Disney feature film he can remember. He compared people to Disney Park and Resort visitors, adding, "I'm also not sure I've ever seen a big company spend so much money to make an insult to its customers." Maura Judkis from US. News & amp; World Report questioned whether the depiction of this "very scared man" would resonate with children and make them prefer "to play outside rather than in front of a computer, to avoid the same fate". Such interpretations led to criticism of the film by conservative commentators such as Glenn Beck, and contributors to National Review Online including Shannen W. Coffin and Jonah Goldberg (though he admits it was "interesting" and sometimes "" production " brilliant.
Some important critics argue that the film is too much, claiming that the film failed to "live in line with the enthusiasm that was so dazzling, high-watts," and that there was "saturation of watching it," in particular "the second and third actions are turning in the desired direction". Other labels include "preaching" and "too long". Children's reviews sent to CBBC are mixed, some cite boredom and inadequate storylines.
Patrick J. Ford of The American Conservative says conservative critics have skipped lessons in films that he thinks appeals to traditional conservatism. He argues that mass consumerism in the film does not prove to be a great business product, but too close a connection between big business and big government: "The government unilaterally gives its citizens all they need, and this lack of variation leads to the fall of the earth." Responding to Coffin's claims that the film demonstrates human evil, Ford argues that the only evil described is the result of losing contact with our own humanity and that fundamental conservative representations such as agriculture, family units, and healthy entertainment are at the end held high by human characters. He concludes, "By directing conservative families away from WALL-E , these commentators are doing very harmless disobedience."
Directed by Terry Gilliam praised the film as "A stunning work The scene of what remains of planet Earth is so beautiful: one of the great silent films and the most amazing works of art!" He says more about ecology and society than direct action films - everyone in their seats hovering, brilliant things.Their social commentary is very clever and right on the button. "
Archaeologists have commented on the theme of human evolution the movie explores. Ben Marwick has written how the WALL-E character resembles an archaeologist with his methodical collection and the classification of ancient human artifacts. He is shown to face a typological dilemma of classifying sporks either as a fork or spoon, and the interest of nostalgia in the human past is further demonstrated by his attachment to seeing repeatedly the 1969 film Hello, Dolly! . Marwick noted that the film featured major human evolutionary transitions such as mandatory bipedalism (captains of spacecraft struggling with autopilot to gain control of ships) and agricultural discovery, as part of a watershed moment in film stories. According to Marwick, an important message from the film "seems to be that the decomposition by technology that humans in Wall-E experience paradoxically results in physical and cultural devolution." Scholars like Ian Tattersall and Steve Jones have similarly discussed scenarios in which modern technological elements (such as medicine) may have caused human evolution to be slow or to stop.
Accolades
WALL-E won an Academy Award for Best Animated Feature and was nominated for Best Original Screenplay, Best Original Score, Best Original Song, Sound Editing and Sound Mix at the 81st Academy Awards, which lost to > Slumdog Millionaire (Original Score, Original Song, Sound Mixing), The Dark Knight (Sound Editing), and Milk (Original Screenplay). Walt Disney Pictures also encouraged the Academy Award nominations for Best Movie, but was not nominated, provoking controversy over whether the Academy deliberately limits WALL-E into the Best Animated Feature category. Peter Travers commented that "If there ever is a time where an animated feature deserves a nomination for the best picture, it is Wall-E." Only three animated films, 1991's Beauty and the Beast and two later Pixar movies, 2009 Up and 2010's Toy Story 3 , were nominated for Awards Academy for Best Picture. Stanton stated that he was not disappointed the film was limited to the nomination of Best Animated Movies because he was overwhelmed by the positive reception of the film, and finally "The line [between direct action and animation] the more blurry I think with every subsequent year, it will become more difficult and more heavy to say what an animated film is and what is not an animated film. "
The film won the Best Animated Feature Film at the 66th Golden Globe Awards, 81st Academy Award, and Film Critics Film Critics Award 2008. This was nominated for several awards at the Annie Awards 2009, including Best Feature Film, Animation Effects, Character Animation, Direction, Design production, Storyboarding and Voice acting (for Ben Burtt); but was defeated by Kung Fu Panda in each category. It won Best Animated Feature at the 62nd Academy Film Awards and was also nominated there for Best Music and Sound. Thomas Newman and Peter Gabriel won two Grammy Awards for "Down to Earth" and "Define Dancing". It won all three awards it was nominated for by the Visual Effects Society: Best Animation, Best Character Animation (for WALL-E and EVE in trucks) and Best Effects in Motion Picture Animation category. It became the first animated film to win Best Editing for Comedy or Music from Cinema Cinema America. In 2009, Stanton, Reardon, and Docter won the Nebula Award, defeating The Dark Knight and Stargate Atlantis episodes of The Shrine. It won the Best Animated Film and was nominated for Best Director at the Saturn Award.
At the British National Film Awards, chosen by the public, he won the Best Family Film. It was also voted Best Feature Film at the Awards of British Academy Kids. WALL-E is listed at # 63 on Empire ' s online poll of the 100 greatest movie characters, performed in 2008. In early 2010, TIME ranked WALL-E # 1 in "Decade Best Movies". In Sight & amp; The sound of the 2012 magazine poll of the greatest movie of all time, WALL-E is the second highest-rated animated film behind My Neighbor Totoro (1988), when binding with Movie Spirited Away (2001) in overall 202. In a BBC poll of 2016 international critics, it was voted the 29th greatest film since 2000.
It was nominated for the 2009 Choice Kids Awards, but lost to Madagascar: Escape 2 Africa .
Robotic recreation
In 2012, Mike McMaster, an American robotics enthusiast, started working on his own WALL-E model. The final product is built with a more moving part than WALL-E that roams around Disneyland. McMaster's four-leg robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested.com a project led by Jamie Hyneman and Adam Savage of MythBusters. Since the creation of WALL-E, Mike and the popular robot have made dozens of appearances at various events.
In 2012, Mike Senna completed the construction of WALL-E itself. He also created EVE. They are present in the photo op at Disney's D23 Expo 2015.
References
Further reading
- Hauser, Tim (2008). WALL-E Art . San Francisco: The Chronicle Book. ISBN: 978-0-8118-6235-6. OCLC: 377889575.
External links
- Official website
- WALL-E on IMDb
- WALL-E in the TCM Movie Database
- WALL-E in The Big Cartoon DataBase
- WALL-E in AllMovie
- WALL-E in Mojo Box Office
- WALL-E at Rotten Tomatoes
- WALL-E in Metacritic
Source of the article : Wikipedia
0 Comments