WALL-E

This article is about the animated film. For the title character, seeWALL-E (character).For other uses, seeWALL-E (disambiguation)andWalle.

WALL•E
Theatrical release poster
Directed by	Andrew Stanton
Screenplay by	Andrew Stanton Jim Reardon
Story by	Andrew Stanton Pete Docter
Produced by	Jim Morris
Starring	Ben Burtt Elissa Knight Jeff Garlin Fred Willard John Ratzenberger Kathy Najimy Sigourney Weaver
Cinematography	Jeremy Lasky Danielle Feinberg
Edited by	Stephen Schaffer
Music by	Thomas Newman
Production company	Pixar Animation Studios
Distributed by	Walt Disney Studios Motion Pictures
Release dates	June 23, 2008(2008-06-23)(Greek Theatre) June 27, 2008(2008-06-27)(United States)
Running time	97 minutes
Country	United States
Language	English
Budget	$180 million
Box office	$532.5 million

WALL-E(stylized with aninterpunctasWALL·E) is a 2008 American animatedromanticscience fiction filmproduced byPixar Animation StudiosforWalt Disney Pictures.The film was directed byAndrew Stanton,produced byJim Morris,and written by Stanton andJim Reardon.It stars the voices ofBen Burtt,Elissa Knight,Jeff Garlin,John Ratzenberger,Kathy Najimy,withSigourney WeaverandFred Willard.The film follows a solitary robot namedWALL-Eon afuture,uninhabitable,desertedEarthin 2805, left to clean up garbage. He is visited by a robot called EVE sent from thestarshipAxiom,with whom he falls in love and pursues across the galaxy.

After directingFinding Nemo,Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space.WALL-Ehas minimal dialogue in its early sequences; many of the characters in the film do not have voices, but instead communicate withbody languageand robotic sounds that were designed by Burtt. The film incorporates various topics includingconsumerism,corporatocracy,nostalgia,waste management,human environmental impact and concerns,obesity/sedentary lifestyles,andglobal catastrophic risk.It is also Pixar's first animated film with segments featuring live-action characters.Thomas Newmancomposed the film's musical score. The film cost $180 million to produce, a record-breaking sum for an animated film at the time. Following Pixar tradition,WALL-Ewas paired with a short film titledPrestofor its theatrical release.

WALL-Ewas released in the United States on June 27, 2008. The film received critical acclaim for its animation, story, voice acting, characters, visuals, score, sound design, screenplay, use of minimal dialogue, and scenes of romance.It was also commercially successful, grossing $521.3 million worldwide and becoming theninth-highest grossing film of 2008.It won the 2008Golden Globe Award for Best Animated Feature Film,the 2009Hugo Award for Best Long Form Dramatic Presentation,the finalNebula Award for Best Script,theSaturn Award for Best Animated Filmand theAcademy AwardforBest Animated Featurewith five additional Oscar nominations. The film was widely named by critics and organizations, including theNational Board of ReviewandAmerican Film Institute,as one of the best films of 2008,and to be considered amongthe greatest animated films ever made.

In 2021,WALL-Ebecame the second Pixar feature film (afterToy Story) to be selected for preservation in the United StatesNational Film Registryby theLibrary of Congressas being "culturally, historically, or aesthetically significant".In September 2022, at the request of Stanton, Disney licensedWALL-EtoThe Criterion Collection,who re-released the film as a special edition4K Blu-Ray-standardBlu-raycombo pack on November 22, 2022, marking the first Pixar film to ever receive such an honor.

Plot

In the 29th century, Earth is a garbage-strewn wasteland due to anecocide,caused by rampantconsumerism,corporate greed, and environmental neglect.

Humanity is nowhere to be seen, having been evacuated by themegacorporationBuy n Large (BnL) to space on giantstarliners,leavingtrash compactingrobots to clean up the planet, seven hundred years prior. All the robots on earth have since stopped functioning and the last remaining active robot, aWaste Allocation Load Lifter: Earth-class(WALL·E), has developed a personality. WALL·E remains active by salvaging parts from other inactive robots and lives with his petcockroachas his only companion in a large robot carrier truck.

One day, WALL·E's routine of compressing trash andcollecting interesting objectsis broken by the arrival of an unmanned rocket probe carrying an egg-shaped robot called an Extraterrestrial Vegetation Evaluator (EVE), which is sent to scan the planet for signs of sustainable life. WALL·E is smitten by the sleek, otherworldly robot, and the two begin to connect, until EVE goes intostandby modewhen WALL·E shows her his most recent find: a livingseedling.The probe ship eventually returns and collects EVE and the plant, with WALL·E clinging on in fear of losing her. The probe ship then returns to its mothership, the starlinerAxiom.

In the centuries since theAxiomleft Earth, its passengers have degenerated into helplessobesitydue tomicrogravityandlaziness,with robots catering to their every whim. Even Captain B. McCrea is used to sitting back while his roboticAIautopilot helm, nicknamed AUTO, pilots the ship. McCrea is unprepared to receive the positive probe response, but discovers that placing the plant in the ship's Holo-Detector will trigger ahyperjumpback to Earth so that humanity can begin recolonization. When McCrea inspects EVE's storage compartment, the plant is missing, with EVE blaming WALL·E for its disappearance.

EVE is deemed faulty and taken to diagnostics. Mistaking the process for torture, WALL·E intervenes and inadvertently releases all the other faulty bots, causing him and EVE to be designated as rogue robots. Frustrated, EVE tries to send WALL·E home in anescape pod,but before she can, the two witness McCrea's first mate robot, GO-4, stowing the plant in a pod set toself-destruct,revealing that WALL·E did not steal the plant. WALL·E enters the pod to retrieve the plant just as it launches, but both he and the plant survive unscathed. EVE catches up to him and they reconcile, celebrating with a dance in space around theAxiom.

EVE brings the plant back to McCrea, who watches her recordings of Earth, concluding that they can and must save it. However, AUTO reveals that he has been ordered to not return to Earth by a secret no-return directiveA113,issued by BnL CEO Shelby Forthright on account of rising toxic levels making earth unlivable and also reveals that GO-4 attempted to dispose of the plant on AUTO's instruction. When McCrea goes against the directive, AUTO and GO-4 electrocute WALL·E, forcefully puts EVE into standby, throws them both down a garbage chute and confines McCrea to his quarters. EVE (having been reactivated by a mouse-like robot) and WALL·E are nearly ejected into space with the ship's refuse, but Microbe Obliterator (M-O), a cleaning robot who had been following WALL·E's dirt trail across the ship since his arrival, inadvertently jams the door and saves the two, prompting the Waste Allocation Load Lifter: Axiom-class (WALL·A) garbage bots to abort the ejection. As humans and robots help in securing the plant, McCrea and AUTO fight for control of theAxiom.AUTO crushes WALL·E using the Holo-Detector in a last-ditch attempt to keep the human passengers in space; McCrea eventually overpowers and deactivates AUTO by switching him to manual mode, and EVE successfully inserts the plant, initiating the hyperjump.

Arriving back on Earth, EVE quickly repairs WALL·E, but finds that his memory and personality have been erased. Heartbroken, EVE gives WALL·E a goodbye "kiss", which releases astatic electricityshock, restoring him to his normal self. WALL-E and EVE reunite as theAxiominhabitants take their first steps on Earth. Humans and robots turn the ravaged planet into a paradise, and the plant grows into a mighty tree, which WALL·E and EVE rest beneath.

Cast

Voice cast

• Ben BurttasWALL·E(Waste Allocation Load Lifter: Earth-class),a compactor robot who has achievedsentience,he is the only one still functioning on Earth. He is a small mobile compactor box accompanied by his cockroach friend Hal. He collects trinkets from the garbage and displays them at his home, where he watches avideo cassetteof 20th Century Studios'Hello, Dolly!,mimicking the dance sequences.
  • Burtt also voices M-O (Microbe-Obliterator), a cleaning robot.
• Elissa Knightas EVE (Extraterrestrial Vegetation Evaluator),a glossy white egg-shaped probe robot with blue LED eyes, whose directive is to verify the habitability of planets for humans. She moves usingantigravityand is equipped with scanners, specimen storage, and acannonwhich she is quick to use.
• Jeff Garlinas Captain B. McCrea, the captain of theAxiom.(While McCrea's name was never spoken, it does appear on a portrait of him in his quarters. He is only ever referred to as the Captain.)
• MacInTalk,the text-to-speech program for AppleMacintoshcomputers, is the voice of AUTO, theAxiom's villainousAIautopilot which handles command functions of the ship. Loyal only to directiveA113,he and GO-4 are the only computers not influenced by WALL-E.
• John RatzenbergerandKathy Najimyas John and Mary, who live on theAxiom,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 andfall in lovewith each other.
• Sigourney Weaveras theAxiom's computer. Stanton joked to Weaver: "You realize you get to be 'Mother' now?"referring to the ship's computer in the filmAlien,starring Weaver.

Live-action cast

• Fred Willardas Shelby Forthright, CEO of the Buy n Large Corporation and President of Earth. The only major live-action character, appearing only in videos recorded around the time of theAxiom's launch in the 22nd century. Forthright proposed the plan to evacuate Earth's population and then clean up the planet so they could return within five years. Discovering that Earth had become too toxic to support life, the cleanup and recolonization were abandoned. Forthright issued directiveA113preventing anyone from returning to Earth. As of 2024, Forthright is the only live-action character with a speaking role in any Pixar film.
• Michael CrawfordandMarianne McAndrewappear in an archival recording performing "It Only Takes a Moment" fromHello, Dolly!.

Production

Writing

BACK ON M-O AND WALLY [sic]

M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can't resist.

M-O (bleeps):
[Look, it stays clean. You got that?]

Wally wipes the bottom of his tread on M-O's face.
M-O loses it.
Scrubs his own face.

—Stanton wrote the screenplay to focus on the visuals
and as a guide to what the sound effects needed to convey

As depicted in the teaser trailer, Andrew Stanton conceivedWALL-Eduring a lunch with fellow writersJohn Lasseter,Pete Docter,andJoe Ranftin 1994.Toy Storywas near completion and the writers brainstormed ideas for their next projects—A Bug's Life,Monsters, Inc.,andFinding Nemo—at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"Having struggled for many years with making the characters inToy Storyappealing, Stanton found his simpleRobinson Crusoe-esque idea of a lonely robot on a deserted planet strong.Stanton madeWALL·Eawaste collectoras the idea was instantly understandable, and because it was a low-status menial job that made him sympathetic.Stanton also liked the imagery of stacked cubes of garbage.He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.

Stanton and Docter developed the film under the title ofTrash Planetfor two months in 1995, but they did not know how to develop the story and Docter chose to directMonsters, Inc.instead.Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.Before they turned their attention to other projects, Stanton and Lasseter thought about having WALL-E fall in love, as it was the necessary progression away from loneliness.Stanton started writingWALL-Eagain in 2002 while completingFinding Nemo.Stanton formatted his script in a manner reminiscent ofDan O'Bannon'sAlien.O'Bannon wrote his script in a manner Stanton found reminded him ofhaiku,where visual descriptions were done in continuous lines of a few words. Stanton wrote his robot "dialogue" conventionally, but placed them in brackets.In late 2003, Stanton and a few others created astory reelof the first twenty minutes of the film. Lasseter andSteve Jobswere impressed and officially began development,though Jobs stated he did not like the title, originally spelled "W.A.L.-E."

While the first act ofWALL-E"fell out of the sky" for Stanton,he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was different. When WALL-E comes to theAxiom,he incites aSpartacus-style rebellion by the robots against the remnants of the human race, which were cruel alien Gels (completely devolved, gelatinous, boneless, legless, see-through, green creatures that resembleJell-O). James Hicks, a physiologist, mentioned to Stanton the concept ofatrophyand the effects prolongedweightlessnesswould have on humans living in space for an inordinately extended time period.Therefore, this was the inspiration of the humans degenerating into the alien Gels,and their ancestry would have been revealed in aPlanet of the Apes-style ending.The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and theAxiomcurled up into a ball when returning to Earth in this incarnation of the story.Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",wanting WALL-E and EVE's relationship to inspire humanity because he felt few films explore howutopiansocieties come to exist.The process of depicting the descendants of humanity as the way they appear in the movie was slow. Stanton first decided to put a nose and ears on the Gels so the audience could recognize them. Eventually, fingers, legs, clothes, and other characteristics were added until they arrived at the concept of being fetus-like to allow the audience to see themselves in the characters.

In a later version of the film, AUTO comes to the docking bay to retrieve EVE's plant. The film would have its first cutaway to the captain, but Stanton moved that as he found it too early to begin moving away from WALL·E's point-of-view. As an homage toGet Smart,AUTO takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large's scheme to clean up the Earth falling apart through the years. Stanton removed this to keep some mystery as to why the plant is taken from EVE. The captain appears to be unintelligent, but Stanton wanted him to just be unchallenged; otherwise he would have not been sympathetic.One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside-down, only to fix it before he challenges AUTO. In the finished film, he merely wears it casually atop his head, tightening it when he really takes command of theAxiom.

Stanton also moved the moment where WALL-E reveals his plant (which he had snatched from the self-destructing escape pod) from producing it from a closet to immediately after his escape, as it made EVE happier and gave them stronger motivation to dance around the ship. Originally, EVE would have been electrocuted by AUTO, and then be quickly saved from ejection at the hands of theWaste Allocation Load Lifter: Axiom-class(WALL·A) robots, by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 test screening, as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL-E, and it made WALL-E even more heroic if he held the holo-detector open despite being badly hurt.The idea of WALL-E losing his memory and personality came after the braintrust team abandoned a scene where EVE had been shot in her heart battery and WALL-E gave her his own battery instead.Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end.Jim Capobianco,director of theRatatouilleshort filmYour Friend the Rat,created an end credits animation that continued the story—and stylized in different artistic movements throughout history—to clarify an optimistic tone.

Design

WALL-Ewas the most complex Pixar production sinceMonsters, Inc.because of the world and the history that had to be conveyed.Whereas most Pixar films have up to 75,000storyboards,WALL-Erequired 125,000.Production designerRalph Egglestonwanted the lighting of the first act on Earth to be romantic, and that of the second act on theAxiomto be cold and sterile. During the third act, the romantic lighting is slowly introduced into theAxiomenvironment.Pixar studiedChernobyland the city ofSofiato create the ruined world; art director Anthony Christov was fromBulgariaand recalled Sofia used to have problems storing its garbage.Eggleston bleached out the whites on Earth to make WALL-E feel vulnerable. The overexposed light makes the location look more vast. Because of the haziness, the cubes making up the towers of garbage had to be large, otherwise they would have lost shape (in turn, this helped save rendering time). The dull tans of Earth subtly become soft pinks and blues when EVE arrives. When WALL-E shows EVE all his collected items, all the lights he has collected light up to give an inviting atmosphere, like aChristmas tree.Eggleston tried to avoid the colors yellow and green so WALL-E—who was made yellow to emulate a tractor—would not blend into the deserted Earth, and to make the plant more prominent.

WALL·Efinds a bra.Roger DeakinsandDennis Murenwere consulted on realistic lighting including backgrounds that are less focused than foregrounds.

Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth. He thought that Pixar captured the physics of being underwater withFinding Nemoand so forWALL·E,he wanted to push that for air. While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of70 mm filmand its barreldistortion,lens flare,andracking focus.Producer Jim Morris invitedRoger DeakinsandDennis Murento advise on lighting and atmosphere. Muren spent several months with Pixar, while Deakins hosted one talk and was requested to stay on for another two weeks. Stanton said Muren's experience came from integrating computer animation into live-action settings, while Deakins helped them understand not to overly complicate their camerawork and lighting.1970sPanavision cameraswere used to help the animators understand and replicate handheld imperfections like unfocused 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 that in the computer.Stanton cited the shallow lens work ofGus Van Sant's films as an influence, as it created intimacy in each close-up. Stanton chose angles for the virtual cameras that a live-action filmmaker would choose if filming on a set.

Stanton wanted theAxiom's interior to resemble Shanghai andDubai.Eggleston studied 1960s NASA paintings and the original concept art forTomorrowlandfor theAxiom,to reflect that era's sense of optimism.Stanton remarked "We are all probably very similar in our backgrounds here [at Pixar] in that we all miss the Tomorrowland that was promised us from the heyday ofDisneyland,"and wanted a"jet pack"feel.Pixar also studied theDisney Cruise Lineand visitedLas Vegas,which was helpful in understanding artificial lighting.Eggleston based hisAxiomdesigns on the futuristic architecture ofSantiago Calatrava.Eggleston divided the inside of the ship into three sections; the rear's economy class has a basic gray concrete texture with graphics keeping to the red, blue, and white of the BnL logo. The coach class with living/shopping spaces has "S" shapes as people are always looking for "what's around the corner". Stanton intended to have many colorful signs, but he realized this would overwhelm the audience and went with Eggleston's original idea of a small number of larger signs. The premier class is a largeZen-like spa with colors limited to turquoise, cream, and tan, and leads on to the captain's warm carpeted and wooded quarters and the sleek dark bridge.In keeping with the artificialAxiom,camera movements were modeled after those of thesteadicam.

The use of live action was a stepping stone for Pixar, as Stanton was planning to makeJohn Carter of Marshis next project.Storyboarder Derek Thompson noted introducing live action meant that they would make the rest of the film look even more realistic.Eggleston added that if the historical humans had been animated and slightly caricaturized, the audience then would not have been able to recognize how serious their devolution was.Stanton castFred Willardas the historical Buy n Large CEO because "[h]e's the most friendly and insincere car salesman I could think of."The CEO says "stay the course",which Stanton used because he thought it was funny and a" natural thing to say at the time ".Industrial Light & Magicdid the visual effects for these shots.

Animation

WALL·Ewent undeveloped during the 1990s partly because Stanton and Pixar were not confident enough yet to have a feature-length film with a main character that behaved likeLuxo Jr.,thePixar lamporR2-D2.Stanton explained there are two types of robots in cinema: "human[s] with metal skin", like theTin Man,or "machine[s] with function" like Luxo and R2. He found the latter idea "powerful" because it allowed the audience to project personalities onto the characters, as they do with babies and pets: "You're compelled... you almost can't stop yourself from finishing the sentence 'Oh, I think it likes me! I think it's hungry! I think it wants to go for a walk!'"He added, "We wanted the audience to believe they were witnessing a machine that has come to life."The animators visited recycling stations to study machinery, and also met robot designers, visitedNASA'sJet Propulsion Laboratoryto study robots, watched a recording of aMars rover,and borrowed abomb detecting robotfrom theSan Francisco Police Department.Simplicity was preferred in their performances as giving them too many movements would make them feel human.

Stanton wanted WALL·E to be a box and EVE to be like an egg.WALL·E's eyes were inspired by a pair ofbinocularsStanton was given when watching theOakland Athleticsplay against theBoston Red Sox.He "missed the entire inning" because he was distracted by them.The director was reminded ofBuster Keatonand decided the robot would not need a nose or mouth.Stanton added azoom lensto make WALL-E more sympathetic.Ralph Egglestonnoted this feature gave the animators more to work with and gave the robot a childlike quality.Pixar's studies of trashcompactorsduring their visits to recycling stations inspired his body.His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.The animators wanted him to have elbows, but realized this was unrealistic because he is only designed to pull garbage into his body.His arms also looked flimsy when they did a test of him waving.Animation director Angus MacLane suggested they attach his arms to a track on the sides of his body to move them around, based on theinkjet printershis father designed. This arm design contributed to creating the character's posture, so if they wanted him to be nervous, they would lower them.Stanton was unaware of the similarities between WALL-E and Johnny 5 fromShort Circuituntil others pointed it out to him.

Stanton wanted EVE to be at the higher end of technology, and askediPoddesignerJonathan Iveto inspect her design. He was very impressed.Her eyes are modelled onLite-Britetoys,but Pixar chose not to make them overly expressive as it would be too easy to have her eyes turn into hearts to express love or something similar.Her limited design meant the animators had to treat her like a drawing, relying on posing her body to express emotion.They also found her similar to amanateeor anarwhalbecause her floating body resembled an underwater creature.Auto was a conscious homage toHAL 9000from2001: A Space Odyssey,and the usage ofAlso sprach Zarathustrafor the showdown between Captain McCrea and Auto furthers that.The manner in which he hangs from a wall or ceiling gives him a threatening feel, like a spider.Originally, Auto was designed entirely differently, resembling EVE, but masculine and authoritative and SECUR-T was also a more aggressive patrol steward robot.The majority of the robot cast were formed with the Build-a-bot program, where different heads, arms and treads were combined in over a hundred variations.The humans were modelled on sea lions due to theirblubberybodies,as well as babies. The filmmakers noticed baby fat is a lot tighter than adult fat and copied that texture for the film's humans.

To animate their robots, the film's story crew and animation crew watched a Keaton and aCharlie Chaplinfilm every day for almost a year, and occasionally aHarold Lloydpicture.Afterwards, the filmmakers knew all emotions could be conveyed silently. Stanton cited Keaton's "great stone face" as giving them perseverance in animating a character with an unchanging expression.As he rewatched these, Stanton felt that filmmakers—since the advent of sound—relied on dialogue too much to convey exposition.The filmmakers dubbed the cockroach WALL-E keeps as a pet "Hal", in reference to silent film producerHal Roach(as well as being an additional reference to HAL 9000).They also watched2001: A Space Odyssey,The Black StallionandNever Cry Wolf,films that had sound but were not reliant on dialogue.Stanton acknowledgedSilent Runningas an influence because its silent robots were a forerunner to the likes of R2-D2,and that the "hopeless romantic"Woody Allenalso inspired WALL-E.

Sound

Producer Jim Morris recommendedBen Burttassound designerforWALL-Ebecause Stanton kept usingR2-D2as the benchmark for the robots.Burtt had completedStar Wars: Episode III – Revenge of the Sithand told his wife he would no longer work on films with robots, but foundWALL-Eand its substitution of voices with sound "fresh and exciting".He recorded 2,500 sounds for the film, which was twice the average number for aStar Warsfilm,and a record in his career.Burtt began work in 2005,and experimented with filtering his voice for two years.Burtt described the robot voices as "like atoddler...universal languageofintonation.'Oh', 'Hm?', 'Huh!', you know? "

During production Burtt had the opportunity to look at the items used byJimmy MacDonald,Disney's in-house sound designer for many of their classic films. Burtt used many of MacDonald's items onWALL-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.He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas.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.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.

Burtt saw a hand-cranked electrical generator while watchingIsland in the Sky,and bought an identical, unpacked device from 1950 oneBayto use for WALL·E moving around.Burtt also used anautomobile self-starterfor when WALL·E goes fast,and the sound of cars being wrecked at ademolition derbyprovided for WALL·E's compressing trash in his body.TheMacintoshcomputerchimewas used to signify when WALL-E has fully recharged his battery. For EVE, Burtt wanted her humming to have a musical quality.Burtt was only able to provide neutral or masculine voices, so Pixar employee Elissa Knight was asked to provide her voice for Burtt to electronically modify. Stanton deemed the sound effect good enough to properly cast her in the role.Burtt recorded a flying 10-foot-long (3.0 m) radio-controlled jet plane for EVE's flying,and for her plasma cannon, Burtt hit aslinkyhung from a ladder with atimpanistick. He described it as a "cousin" to theblasternoise fromStar Wars.

MacInTalkwas used because Stanton "wanted Auto to be the epitome of a robot, cold, zeros & ones, calculating, and soulless [and]Stephen Hawking's kind of voice I thought was perfect. "Additional sounds for the character were meant to give him a clockwork feel, to show he is always thinking and calculating.

Burtt had visitedNiagara Fallsin 1987 and used his recordings from his trip for the sounds of wind,and ran around a hall with acanvasbag up to record the sandstorm.For the scene where WALL-E flees from falling shopping carts, Burtt and his daughter went to a supermarket and placed a recorder in their cart. They crashed it around the parking lot and then let it tumble down a hill.To create Hal (WALL-E's pet cockroach)'s skittering, he recorded the clicking caused by taking apart and reassemblinghandcuffs.

Music

See also:WALL-E(soundtrack)

Thomas Newmanrecollaborated with Stanton onWALL-Esince the two got along well onFinding Nemo,which gave Newman the Annie Award for Best Music in an Animated Feature. He began writing the score in 2005, in the hope that starting this task early would make him more involved with the finished film. But, Newman remarked that animation is so dependent on scheduling he should have begun work earlier on when Stanton and Reardon were writing the script. EVE's theme was arranged for the first time in October 2007. Her theme when played as she first flies around Earth originally used more orchestral elements, and Newman was encouraged to make it sound more feminine.Newman said Stanton had thought up many ideas for how he wanted the music to sound, and he generally followed them as he found scoring a partially silent film difficult. Stanton wanted the whole score to be orchestral, but Newman felt limited by this idea especially in scenes aboard theAxiom,and used electronics too.

A live-action clip of the song "It Only Takes a Moment" fromHello, Dolly!,which inspires WALL-E to hold hands with EVE

Stanton originally wanted to juxtapose the opening shots of space with 1930s Frenchswing music,but changed his mind after seeingThe Triplets of Belleville(2003), not wanting to appear as if he were copying it.Stanton then thought about the song "Put On Your Sunday Clothes" fromHello, Dolly!,since he had portrayed the sidekick Barnaby Tucker in a 1980 high school production.Stanton found that the song was about two naive young men looking for love, which was similar to WALL-E's own hope for companionship.Jim Reardon,storyboard supervisor for the film, suggested WALL-E find the film on video, and Stanton included "It Only Takes a Moment" and the clip of the actors holding hands, because he wanted a visual way to show how WALL-E understands love and conveys it to EVE.Hello, Dolly!composerJerry Hermanallowed the songs to be used without knowing what for; when he saw the film, he found its incorporation into the story "genius".Coincidentally, Newman's uncleLionelworked onHello, Dolly!

Newman travelled to London to compose the end credits song "Down to Earth"withPeter Gabriel,who was one of Stanton's favorite musicians. Afterwards, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.Louis Armstrong's rendition of "La Vie en rose"was used for a montage where WALL-E attempts to impress EVE on Earth. The script also specified usingBing Crosby's "Stardust"for when the two robots dance around theAxiom,but Newman asked if he could score the scene himself. A similar switch occurred for the sequence in which WALL-E attempts to wake EVE up through various means; originally, the montage would play with the instrumental version of "Raindrops Keep Fallin' on My Head",but Newman wanted to challenge himself and scored an original piece for the sequence.

Themes

The film is recognized as asocial criticism.Katherine Ellison asserts that "Americans produce nearly 400 million tons ofsolid wasteper year but recycle less than a third of it, according to a recent Columbia University study. "Landfillswere filling up very rapidly worldwide, and predictions were made that the UK could run out of landfill space by 2017.

Environment, waste, and nostalgia

Further information:Pollution

In the DVD commentary, Stanton said that he has been asked if it was his intention to make a movie about consumerism. His answer was it was not; it was a way to answer the question of how would the Earth get to the state where one robot would be left to continue the cleanup by itself. Nevertheless, some critics have noted an incongruity between the perceived pro-environmental and anti-consumerist messaging of the film, and the environmental impacts in the production and merchandising of the film.

In "WALL-E: from environmental adaption to sentimentalnostalgia,"Robin Murray and Joseph Heumann explain the important theme of nostalgia in this film. Nostalgia is clearly represented by human artifacts, left behind, that WALL-E collects and cherishes, for exampleZippolighters, hubcaps, and plastic sporks. These modern items that are used out of necessity are made sentimental through the lens of the bleak future of Earth. Nostalgia is also expressed through the musical score, as the film opens with a camera shot of outer space that slowly zooms into a waste filled Earth while playing "Put on Your Sunday Clothes", reflecting on simpler and happier times in human history. This film also expresses nostalgia through the longing of nature and the natural world, as it is the sight and feeling of soil, and the plant brought back to the space ship by EVE, that make the captain decide it is time for humans to move back to Earth. WALL-E expresses nostalgia also, by reflecting on romantic themes of older Disney and silent films.

Stanton describes the theme of the film as "irrational love defeats life's programming":

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.

Technology

Stanton noted many commentators placed emphasis on the environmental aspect of humanity's complacency in the film, because "that disconnection is going to be the cause, indirectly, of anything that happens in life that's bad for humanity or the planet".Stanton said that by taking away effort to work, the robots also take away humanity's need to put effort into relationships.Christian journalistRod Drehersaw technology as the complicated villain of the film. The humans' artificial lifestyle on theAxiomhas separated them from nature, making them "slaves of both technology and their own base appetites, and have lost what makes them human". Dreher contrasted the hardworking, dirt covered WALL-E with the sleek clean robots on the ship. However, it is the humans and not the robots who make themselves redundant. Humans on the ship and on Earth have overused robots and the ultra-modern technology. During the end credits, humans and robots are shown working alongside each other to renew the Earth. "WALL·Eis not aLudditefilm, "he said." It doesn't demonize technology. It only argues that technology is properly used to help humans cultivate their true nature—that it must be subordinate to human flourishing, and help move that along. "

Religion

TheAxiomand EVE have been compared to the legend ofNoah's Arkand the dove thatNoahsets forth from the Ark.

Stanton, who is aChristian,named EVE afterthe Biblical figurebecause WALL-E's loneliness reminded him ofAdam,before God created his wife.Dreher noted EVE's biblical namesake and saw her directive as an inversion of that story; EVE uses the plant to tell humanity to return to Earth and move away from the "false god"of BnL and the lazy lifestyle it offers. In cohesion with the classical Christian viewpoint, WALL-E shows that work is what makes humans human. Whereas other sources would say that laziness and pleasure is paradise, WALL-E tries to show that that is not true. Dreher emphasized the false god parallels to BnL in a scene where a robot teaches infants" B is for Buy n Large, your very best friend ", which he compared to modern corporations such asMcDonald'screatingbrand loyaltyin children.Megan Basham ofWorldmagazine felt the film criticizes the pursuit of leisure, whereas WALL-E in hisstewardshiplearns to truly appreciate God's creation.

During writing, a Pixar employee noted toJim Reardonthat EVE was reminiscent of thedovewith theolive branchfrom the story ofNoah's Ark,and the story was reworked with EVE finding a plant to return humanity from its voyage.WALL-E himself has been compared toPrometheus,Sisyphus,andButades:in an essay discussing WALL-E as representative of the artistic strive of Pixar itself,Hrag Vartaniancompared WALL-E to Butades in a scene where the robot expresses his love for EVE by making a sculpture of her from spare parts. "TheAncient Greektradition associates the birth of art with aCorinthianmaiden who longing to preserve her lover's shadow traces it on the wall before he departed for war. The myth reminds us that art was born out of longing and often means more for the creator than the muse. In the same way Stanton and his Pixar team have told us a deeply personal story about their love of cinema and their vision for animation through the prism of all types of relationships. "

Release

WALL-Epremiered at theGreek Theatrein Los Angeles on June 23, 2008.Continuing a Pixar tradition, the film was paired with ashort filmfor its theatrical release,Presto.The film is dedicated toJustin Wright(1981–2008), a Pixar animator who had worked onRatatouilleand died of a heart attack beforeWALL-E's release.

Walt Disney Imagineering(WDI) built animatronic WALL-Es to promote the picture, which made appearances atDisneyland Resort,theFranklin Institute,theMiami Science Museum,theSeattle Center,and theTokyo International Film Festival.Due to safety concerns, the 318 kg robots were always strictly controlled and WDI always needed to know exactly what they were required to interact with. For this reason, they generally refused to have their puppets meet and greet children at the theme parks in case a WALL-E trod on a child's foot. Those who wanted to take a photograph with the character had to make do with a cardboard cutout.

The film was denied a theatrical release inChina.

In 2016, Jim Morris noted that the studio has no plans for a sequel, as they considerWALL-Ea finished story with no need for continuation.

To promote the film, a website was created for Buy n Large, the featuring megacorporation. This website had fake press releases beginning in 2057, including "Wisconsin Mall Granted City Status," "BnL Announces Police Select." These fictional reports also quotes "analyst Richard Greenberg," whichMultichannel Newspointed said sounds like Richard Greenfield who has analysed Disney. Greenfield said that "I would be sincerely flattered if there is a connection between anything Pixar creates and our research work."

Merchandise

Small quantities of merchandise were sold forWALL-E,asCarsitems were still popular, and many manufacturers were more interested inSpeed Racer,which was a successful product line despite the film's failure at the box office. Thinkway, which created theWALL·Etoys, had previously madeToy Storydolls when other toy producers had not shown an interest.Among Thinkway's items were a WALL-E that danced when connected to a music player, a toy that could be taken apart and reassembled, and a groundbreaking remote control toy of him and EVE that had motion sensors that allowed them to interact with players.There were even plushies.The "Ultimate WALL-E" figures were not in stores until the film's home release in November 2008,at a retail price of almost $200, leadingThe Patriot-Newsto deem it an item for "hard-core fans and collectors only".On February 4, 2015,Legoannounced that a WALL-E custom built by lead animatorAngus MacLanewas the latest design approved for mass production and release as part ofLego Ideas.

Home media

The film was released onBlu-rayDisc andDVDbyWalt Disney Studios Home Entertainmenton November 18, 2008. Various editions include the short filmPresto,another short filmBURN-E,theLeslie Iwerksdocumentary filmThe Pixar Story,shorts about the history of Buy n Large, behind-the-scenes special features, and adigital copyof the film that can be played throughiTunesorWindows Media Player-compatible devices.This release sold 9,042,054 DVD units ($142,633,974) in total becoming the second-best-selling animated DVD among those released in 2008 in units sold (behindKung Fu Panda), the best-selling animated feature in sales revenue, and the third-best-selling among all 2008 DVDs.

WALL-Ewas released in Japan in a limited edition Blu-ray box set, which included a book featuring artwork from the film, a framed print, and a remote control version of Wall-E. This edition is now discontinued.

WALL-Ewas released by Disney on4K Blu-rayon March 3, 2020.

At the request of Stanton, Disney licensedWALL-EtoThe Criterion Collectionin September 2022, which created a special4K Blu-ray-Blu-ray combo edition of the film that was released on November 22, 2022, featuring the same 4K digital master used for Disney's original 4K Blu-ray release, but now presented inDolby VisionandHDR10+as approved by Stanton, along with additional special features. This makes it both the first Pixar and Walt Disney Pictures feature films released under the Criterion label.In its description for the release, Criterion viewed the film as an important work of both the animation medium and of cinema itself, saying that while "Transporting us simultaneously back to cinema’s silent origins and light-years into the future,WALL-Eis a soaring ode to the power of love and art to heal a dying world. "

Reception

Box office

WALL-Egrossed $223.8 million in the United States and Canada and $308.7 million overseas, for a worldwide total of $532.5 million,making it the ninth-highest-grossing film of 2008.

In the US and Canada,WALL-Eopened in 3,992 theaters on June 27, 2008.The film grossed $23.1 million on its opening day, the highest of all nine Pixar titles to date.During its opening weekend, it topped the box office with $63,087,526.This was the third-best opening weekend for a Pixar film afterFinding NemoandThe Incredibles,and the second-best opening weekend among films released in June, behindHarry Potter and the Prisoner of Azkaban.The film grossed $38 million the following weekend, losing its first place toHancock.WALL-Ecrossed the $200 million mark by August 3, during its sixth weekend.

WALL-Egrossed over $10 million in Japan ($44,005,222), UK, Ireland andMalta($41,215,600), France and theMaghrebregion ($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 theCIS($11,694,482).

Critical response

TheAmerican Film InstitutenamedWALL-Eas one of the best films of 2008;the jury rationale states:

WALL•Eproves to this generation and beyond that the film medium's only true boundaries are the human imagination. Writer/director Andrew Stanton and his team have created a classic screen character from a metal trash compactor who rides to the rescue of a planet buried in the debris that embodies the broken promise of American life. Not since Chaplin's "Little Tramp"has so much story—so much emotion—been conveyed without words. When hope arrives in the form of a seedling, the film blossoms into one of the great screen romances as two robots remind audiences of the beating heart in all of us that yearns for humanity—and love—in the darkest of landscapes.

On thereview aggregatorwebsiteRotten Tomatoes,95% of 262 critics' reviews are positive, with an average rating of 8.6/10. The website's consensus reads: "Wall-E's stellar visuals testify once again to Pixar's ingenuity, while its charming star will captivate younger viewers—and its timely story offers thought-provoking subtext. "AtMetacritic,which assigns a normalized rating to reviews from mainstream critics, the film has anaveragescore of 95 out of 100 based on 39 reviews, indicating "universal acclaim".Audiences polled byCinemaScoregave the film an average rating of "A" on an A+ to F scale.

IndieWirenamedWALL-Ethe third-best film of the year based on their annual survey of 100 film critics, while Movie City News shows thatWALL-Eappeared in 162 different top 10 lists, out of 286 different critics lists surveyed, the most mentions on a top 10 list of any film released in 2008.

Richard CorlissofTimenamedWALL-Ehis favorite film of 2008 (and later of the decade), noting the film succeeded in "connect[ing] with a huge audience" despite the main characters' lack of speech and "emotional signifiers like a mouth, eyebrows, shoulders, [and] elbows". It "evoke[d] the splendor of the movie past" and he also compared WALL-E and EVE's relationship to the chemistry ofSpencer TracyandKatharine Hepburn.Other critics who namedWALL-Etheir favorite film of 2008 included Tom Charity ofCNN,Michael Phillips of theChicago Tribune,Lisa Schwarzbaum ofEntertainment Weekly,A. O. ScottofThe New York Times,Christopher OrrofThe New Republic,Ty BurrandWesley MorrisofThe Boston Globe,Joe MorgensternofThe Wall Street Journal,andAnthony LaneofThe New Yorker.

Todd McCarthy ofVarietycalled the film "Pixar's ninth consecutive wonder", saying it was imaginative yet straightforward. He said it pushed the boundaries of animation by balancing esoteric ideas with more immediately accessible ones, and that the main difference between the film and other science fiction projects rooted in anapocalypsewas its optimism.Kirk Honeycutt ofThe Hollywood Reporterdeclared thatWALL-Esurpassed the achievements of Pixar's previous eight features and probably their most original film to date. He said it had the "heart, soul, spirit and romance" of the bestsilent films.Honeycutt said the film's definitive stroke of brilliance was in using a mix of archive film footage and computer graphics to trigger WALL·E's romantic leanings. He praised Burtt's sound design, saying "If there is such a thing as an aural sleight of hand, this is it."

Roger Ebertof theChicago Sun-TimesnamedWALL-E"an enthralling animated film, a visual wonderment, and a decent science-fiction story" and said the scarcity of dialogue would allow it to "cross language barriers" in a manner appropriate to the global theme, and noted it would appeal to adults and children. He praised the animation, describing the color palette as "bright and cheerful... and a little bit realistic", and that Pixar managed to generate a "curious" regard for the WALL·E, comparing his "rusty and hard-working and plucky" design favorably to more obvious attempts at creating "lovable" lead characters. He saidWALL-Ewas concerned with ideas rather than spectacle, saying it would trigger stimulating "little thoughts for the younger viewers."He named it as one of his twenty favorite films of 2008 and argued it was "the best science-fiction movie in years".

The film was interpreted as tackling a topical,ecologically-minded agenda,though McCarthy said it did so with a lightness of touch that granted the viewer the ability to accept or ignore the message.Kyle Smithof theNew York Post,wrote that by depicting future humans as "a flabby mass of peabrained idiots who are literally too fat to walk",WALL-Ewas darker and more cynical than any major Disney feature film he could recall. He compared the humans to the patrons ofDisney's theme parks and resorts,adding, "I'm also not sure I've ever seen a major corporation spend so much money to issue an insult to its customers."Maura Judkis ofU.S. News & World Reportquestioned whether this depiction of "frighteningly obese humans" would resonate with children and make them prefer to "play outside rather than in front of the computer, to avoid a similar fate".

A few notable critics have argued that the film is vastly overrated,claiming it failed to "live up to such blinding, high-wattage enthusiasm",and that there were "chasms of boredom watching it", in particular "the second and third acts spiraled into the expected".Other labels included "preachy"and "too long".Child reviews sent intoCBBCwere mixed, some citing boredom and an inadequate storyline.

Severalconservativecommentators criticized the film.Shannen W. CoffinofNational Reviewsaid thatWALL-Eis "leftist propaganda about the evils of mankind".Greg PollowitzofNational Reviewcalled the film "a 90-minute lecture on the dangers of over consumption, big corporations, and the destruction of the environment".Jonah Goldbergsaid that while the film was "fascinating and at-times brilliant", he added that it is also "Malthusianfear mongering ".Glenn Becksaid that "I can't wait to teach my kids how we've destroyed the Earth... Pixar is teaching. I can't wait. You know if your kid has ever come home and said, 'Dad, how come we use so muchstyrofoam,' oh, this is the movie for you. "

Patrick J. Ford ofThe American ConservativesaidWALL-E's conservative critics missed lessons in the film that he felt appealed totraditional conservatism.He argued that the massconsumerismin the film was not shown to be a product ofbig business,but of too close a tie between big business andbig government:"The government unilaterally provided its citizens with everything they needed, and this lack of variety led to Earth's downfall." Responding to Coffin's claim that the film points out the evils of mankind, Ford argued the only evils depicted were those that resulted from losing touch with our own humanity and that fundamental conservative representations such as the farm, the nuclear family unit, and "wholesome entertainment" were seen as "beautiful and desirable." by the human characters. He concluded, "By steering conservative families away fromWALL-E,these commentators are doing their readers a great disservice. "

DirectorTerry Gilliampraised the film as "A stunning bit of work. The scenes on what was left of planet Earth are just so beautiful: one of the great silent movies. And the most stunning artwork! It says more about ecology and society than any live-action film—all the people on their loungers floating around, brilliant stuff. Their social comment was so smart and right on the button."

Archaeologists have commented on the themes of human evolution that the film explores.Ben Marwick has written how the character of WALL-E resembles an archaeologist with his methodical collection and classification of quotidian human artefacts. He is shown facing a typological dilemma of classifying asporkas either a fork or spoon, and his nostalgic interest in the human past further demonstrated by his attachment to repeated viewings of the 1969 filmHello, Dolly!.Marwick notes that the film features major human evolutionary transitions such as obligate bipedalism (captain of the spaceship struggles with the autopilot to gain control of the vessel) and the invention of agriculture, as part of watershed moments in the story of the film. According to Marwick, one prominent message of the film "appears to be that the envelopment by technology that the humans inWall-Eexperience paradoxically results in physical and cultural devolution. "Scholars such asIan TattersallandSteve Joneshave similarly discussed scenarios where elements of modern technology (such as medicine) may have causedhuman evolutionto slow or stop.

In 2021, the film was selected for preservation in the United StatesNational Film Registryby theLibrary of Congressas being "culturally, historically, or aesthetically significant".

Accolades

Main article:List of accolades received byWALL-E

WALL-Ewon theAcademy Award for Best Animated Featureand was nominated forBest Original Screenplay,Best Original Score,Best Original Song,Sound Editing,andSound Mi xingat the81st Academy Awards.Walt Disney Pictures also pushed for anAcademy Award for Best Picturenomination,but it was not nominated, sparking controversy over whether the Academy deliberately restrictedWALL-Eto the Best Animated Feature category.Film criticPeter Traversremarked, "If there was ever a time where an animated feature deserved to be nominated for best picture it'sWall-E."Only three animated films, 1991'sBeauty and the Beastand Pixar's next two films, 2009'sUpand 2010'sToy Story 3,have ever been nominated for the Academy Award for Best Picture. A reflective Stanton stated he was not disappointed the film was restricted to the Best Animated Film nomination because he was overwhelmed by the film's positive reception, and eventually "The line [between live-action and animation] is just getting so blurry that I think with each proceeding year, it's going to be tougher and tougher to say what's an animated movie and what's not an animated movie."

WALL-Emade a healthy appearance at the various 2008 end-of-the-year awards circles, particularly in the Best Picture category, where animated films are often overlooked. It has won the award, or the equivalent of it, from theBoston Society of Film Critics(tied withSlumdog Millionaire),theChicago Film Critics Association,the Central Ohio Film Critics awards,theOnline Film Critics Society,and most notably theLos Angeles Film Critics Association,where it became the first animated feature to win the prestigious award.It was named as one of 2008's ten best films by theAmerican Film Instituteand theNational Board of Review of Motion Pictures.

It won Best Animated Feature Film at the66th Golden Globe Awards,81st Academy Awards, and theBroadcast Film Critics Association Awards 2008.It was nominated for several awards at the 2009Annie Awards,including Best Feature Film, Animated Effects, Character Animation, Direction, Production design, Storyboarding and Voice acting (for Ben Burtt);but was beaten out byKung Fu Pandain every category.It won Best Animated Feature at the62nd British Academy Film Awardsand was also nominated there for Best Music and Sound.Thomas NewmanandPeter Gabrielwon twoGrammy Awardsfor "Down to Earth"and" Define Dancing ".It won all three awards it was nominated for by theVisual Effects Society:Best Animation, Best Character Animation (for WALL-E and EVE in the truck) and Best Effects in the Animated Motion Picture categories.It became the first animated film to win Best Editing for a Comedy or Musical from theAmerican Cinema Editors.In 2009, Stanton, Reardon, and Docter won theNebula Award,beatingThe Dark Knightand theStargate Atlantisepisode "The Shrine".It won Best Animated Film and was nominated for Best Director at theSaturn Awards.

At the BritishNational Movie Awards,which is voted for by the public, it won Best Family Film.It was also voted Best Feature Film at theBritish Academy Children's Awards.WALL-E was listed at No. 63 onEmpire's online poll of the 100 greatest movie characters, conducted in 2008.In early 2010,TimerankedWALL-ENo. 1 in "Best Movies of the Decade".InSight & Soundmagazine's 2012 poll of the greatest films of all time,WALL-Eis the second-highest-ranking animated film behindMy Neighbor Totoro(1988), while tying with the filmSpirited Away(2001) at 202nd overall.In a 2016BBCpoll of international critics, it was voted the 29th-greatest film since 2000.

Robotic recreations

In 2012, Mike McMaster,an American robotics hobbyist, began working on his own model ofWALL·E.The final product was built with more moving parts than the WALL·E which roams aroundDisneyland.McMaster's four-foot robot made an appearance at theWalt Disney Family Museumand was featured during the opening week of Testeda project headed up byJamie HynemanandAdam SavageofMythBusters.Since WALL-E's creation, Mike and the popular robot have made dozens of appearances at various events.

In the same year, Mike Senna completed his own WALL·E build.He also created an EVE. They were present at a photo op at Disney's D23 Expo 2015.

See also

• Robots(2005 film)
• Mars Cube One,consisting of two nanospacecraft, MarCO-A and MarCO-B, which are nicknamed WALL-E and EVE

Bibliography

• Hauser, Tim (2008).The Art of WALL-E.San Francisco:Chronicle Books.ISBN978-0-8118-6235-6.OCLC377889575.
• Mattie, Sean (Winter 2014). "WALL·E on the Problem of Technology".Perspectives on Political Science.43(1): 12–20.doi:10.1080/10457097.2013.784576.ISSN1045-7097.S2CID144206190.

External links

• Official website
• WALL-EatIMDb
• WALL-EatRotten Tomatoes
• WALL-Eat theTCM Movie Database
• WALL-EatAllMovie