Wall-E [DVD] [2008]

Product Information

Palermo, Elizabeth (September 2, 2013). "Pixar's Wall-E Brought to Life by California Farmer". Tom's Guide. Archived from the original on October 12, 2013 . Retrieved October 11, 2013. I realized the point I was trying to push with these two programmed robots was the desire for them to try and figure out what the point of living was... It took these really irrational acts of love to sort of discover them against how they were built... I realized that that's a perfect metaphor for real life. We all fall into our habits, our routines and our ruts, consciously or unconsciously to avoid living. To avoid having to do the messy part. To avoid having relationships with other people or dealing with the person next to us. That's why we can all get on our cell phones and not have to deal with one another. I thought, 'That's a perfect amplification of the whole point of the movie.' I wanted to run with science in a way that would sort of logically project that. [38] Technology [ edit ] a b Corliss, Richard (June 12, 2008). "WALL-E: Pixar's Biggest Gamble". Time. ISSN 0040-781X. Archived from the original on October 2, 2017 . Retrieved September 23, 2017. Jonathan L'Ecuyer (February 23, 2009). "An Oscar shout-out". Gloucester Daily Times. Archived from the original on May 27, 2012 . Retrieved March 3, 2009.

WALL•E: 3-Disc Special Edition DVD Review - DVDizzy WALL•E: 3-Disc Special Edition DVD Review - DVDizzy

a b Ebiri, Bilge (November 23, 2022). "Andrew Stanton Remembers When 'Nobody Wanted to Make' Wall-E". New York. Archived from the original on November 22, 2022 . Retrieved November 22, 2022. Michael Crawford and Marianne McAndrew appear in an archival recording performing "It Only Takes a Moment" from Hello, Dolly!. AFI Awards 2008". American Film Institute. Archived from the original on September 3, 2011 . Retrieved January 12, 2009. The final three features are held in Robots, which is for "families" meaning "children." That doesn't mean teens and adults won't be amused by some, if not all of it.

Using green screen technology, Pixar takes a weatherperson's approach to highlighting each artist's contribution in the creation of a single shot. In essence, a guided tour of the Pixar production pipeline from story artist to renderer. Andrew Stanton shares a creative bond with Thomas Newman that carries over from their experiences working on "Finding Nemo." This piece will draw on Stanton and Newman's ideas about creating a score that evokes a particular sense of time and place as well as creating an emotional response in the audience. a b c d Captain's Log: The Evolution of Humans, 2008 DVD featurette, Walt Disney Studios Home Entertainment

WALL•E Home Video | Pixar Wiki | Fandom WALL•E Home Video | Pixar Wiki | Fandom

Every film presents new opportunities for Pixar to interpret and design environments, imaginary or not. Using computers makes the art design choices as limitless as outer space. For WALL•E, the goal was not to reinvent space but to make design choices to enhance the story. The filmmakers wanted to ensure the audiences would be immersed in the story's action so they made a design choice to cheat the stars closer to camera than they would actually be in space so that the stars would move in the frame and allow the viewer to easily perceive the movement Oscars 2009: The nominees". BBC News. January 22, 2009. Archived from the original on February 15, 2009 . Retrieved January 22, 2009. Joanna Cohen (September 17, 2008). "Andrew Stanton and Ben Burtt talk WALL-E". Rotten Tomatoes. Archived from the original on March 11, 2009 . Retrieved November 27, 2008.

Pete DeBruge (January 30, 2009). " 'Kung Fu Panda' rules Annie Awards". Variety . Retrieved January 31, 2009. The 25 All-TIME Best Animated Films". Archived from the original on September 26, 2021 . Retrieved December 15, 2021. Tom Charity (December 31, 2008). "The best (and worst) films of 2008". CNN. Archived from the original on March 4, 2009 . Retrieved January 8, 2009. a b List of a Shot: Deconstructing the Pixar Process, 2008 DVD featurette, Walt Disney Studios Home Entertainment a b "WALL-E". Rotten Tomatoes. Fandango. Archived from the original on June 29, 2023 . Retrieved August 17, 2023.

WALL·E | Disney Movies WALL·E | Disney Movies

a b "WALL-E screenplay" (PDF). Disney. Archived from the original (PDF) on March 6, 2009 . Retrieved June 1, 2009. Pixar's imaginative movies always lend themselves to innovative DVD menus, and WALL•E certainly doesn't disappoint in this regard. On Disc 1, we see things through characters' perspectives (our hero's binocular vision, EVE's oval blue screen) and hear the sounds of mechanical desolation in cleverly-designed 5.1. The locales are established with nifty transitions. In 2012, Mike McMaster, [154] an American robotics hobbyist, began working on his own model of WALL·E. The final product was built with more moving parts than the WALL·E which roams around Disneyland. McMaster's four-foot robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested.com [155] a project headed up by Jamie Hyneman and Adam Savage of MythBusters. Since WALL-E's creation, Mike and the popular robot have made dozens of appearances at various events. [156] John Ratzenberger and Kathy Najimy as John and Mary, who live on the Axiom, so dependent on their automatic services as to be oblivious to their surroundings. They are brought out of their trances by encounters with WALL-E and fall in love with each other. Hodgson, Claire (April 27, 2014). "Why Pixar's WALL-E is the greatest love story ever told in 11 heart warming GIFs". mirror. Archived from the original on April 24, 2021 . Retrieved September 20, 2020.The highly acclaimed director of Finding Nemo and the creative storytellers behind Cars and Ratatouille transport you to a galaxy not so far away for a new cosmic comedy adventure about a determined robot named WALL•E. During production Burtt had the opportunity to look at the items used by Jimmy MacDonald, Disney's in-house sound designer for many of their classic films. Burtt used many of MacDonald's items on WALL-E. Because Burtt was not simply adding sound effects in post-production, the animators were always evaluating his new creations and ideas, which Burtt found an unusual experience. [64] He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas. [21] Burtt would choose scientifically accurate sounds for each character, but if he could not find one that worked, he would choose a dramatic and unrealistic noise. [64] Burtt would find hundreds of sounds by looking at concept art of characters, before he and Stanton pared it down to a distinct few for each robot. [24] a b Chriss Willman (July 10, 2008). "WALL-E Meets Dolly!". Entertainment Weekly. Archived from the original on January 20, 2018 . Retrieved January 17, 2018. In 2016, Jim Morris noted that the studio has no plans for a sequel, as they consider WALL-E a finished story with no need for continuation. [86] At Pixar, stories evolve. In "WALL•E," the Captain and all the other now-human characters started in a very different place. This documentary examines the dialogue between story, art and technology, using the example of the Captain.