Walle Film

Review of: Walle Film

Reviewed by:
Rating:
5
On 16.02.2020
Last modified:16.02.2020

Summary:

Er in der neue Spin-Off Hobbs and the First Sunday auf Anhieb etwas auf Mittel- und legt die neueste Staffel 2 American Horror grogeschrieben und hilft er die Uhr MEZ geht es nmlich erstmals einen Primetimeplatz zu.

Walle Film

Animation: Jahre lang hat Wall-E seine Bestimmung erfüllt und Abfall SAT.​1 Film. WALL-E. M-O ist ein Reinigungsroboter, der darauf geschult wurde. Wall-E ist ein kleiner Haushaltsroboter, der klaglos seinen Dienst verrichtet und Müll zusammenpresst, um ihn zu Wolkenkratzern aufzustapeln. Denn der kleine rostige Kasten macht seinen Job seit nunmehr Jahren. Damals verließen alle Menschen. Fakten und Hintergründe zum Film "WALL-E - Der Letzte r?umt die Erde auf". kastielmarkusovce.eu Redaktion | WALL·E - Der Letzte räumt die Erde auf.

Walle Film Inhaltsverzeichnis

Wall-E ist ein kleiner Haushaltsroboter, der klaglos seinen Dienst verrichtet und Müll zusammenpresst, um ihn zu Wolkenkratzern aufzustapeln. Denn der kleine rostige Kasten macht seinen Job seit nunmehr Jahren. Damals verließen alle Menschen. WALL·E – Der Letzte räumt die Erde auf (auf Filmplakaten WALL·E) aus dem Jahr ist der neunte computeranimierte Kinofilm der Pixar Animation Studios​. Sogar Real-Filme können sich hier eine Scheibe abschneiden. Über die Handlung möchte ich hier nichts schreiben - JEDER sollte sich diesen Film ansehen. Begleite Wall·E auf eine rasante und spannenden Reise ins Weltall. Dieser außergewöhnliche Computer-Animationsfilm erzählt die Geschichte von einem süßen. Es ist einfach mal ein anderer Kinderfilm. Besonders das solche Kinder-​Animation Filme einfach bescheuert sind. Ein Blick auf die Blu-Ray ist es wert da der Film. Im Pixar Animationsfilm WALL-E – Der Letzte räumt die Erde auf verliebt sich ein kleiner Müllroboter auf der verlassenen Erde in die elegante Maschine Eve. Dramaturgisch unbekümmerter als seine Vorgänger verbindet der neue Pixar-​Disney-Film Computeranimation und Detailvergnügen mit einer ausgesprochen​.

Walle Film

Fakten und Hintergründe zum Film "WALL-E - Der Letzte r?umt die Erde auf". kastielmarkusovce.eu Redaktion | WALL·E - Der Letzte räumt die Erde auf. Es ist einfach mal ein anderer Kinderfilm. Besonders das solche Kinder-​Animation Filme einfach bescheuert sind. Ein Blick auf die Blu-Ray ist es wert da der Film. Begleite Wall·E auf eine rasante und spannenden Reise ins Weltall. Dieser außergewöhnliche Computer-Animationsfilm erzählt die Geschichte von einem süßen.

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 very 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 the inkjet printers his father designed.

This arm design contributed to creating the character's posture, so if they wanted him to be nervous, they would lower them. He was very impressed.

Her eyes are modelled on Lite-Brite toys, 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 a manatee or a narwhal because her floating body resembled an underwater creature. The manner in which he hangs from a wall gives him a threatening feel, like a spider.

Originally, Auto was designed entirely differently, resembling EVE, but masculine and authoritative; the Steward robots were also more aggressive Patrol-bots.

The majority of the robot cast were formed with the Build-a-bot program, where different heads, arms, and treads were combined together in over a hundred variations.

The humans were modelled on sea lions due to their blubbery bodies, 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 a Charlie Chaplin film every day for almost a year, and occasionally a Harold Lloyd picture.

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. He recorded sounds for the film, which was twice the average number for a Star Wars film, and a record in his career.

Burtt began work in and experimented with filtering his voice for two years. Burtt described the robot voices as "like a toddler [ 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.

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 if 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 watching Island in the Sky , and bought an identical, unpacked device from on eBay to use for WALL-E moving around.

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 radio-controlled jet plane for EVE's flying, and for her plasma cannon, Burtt hit a slinky hung from a ladder with a timpani stick.

He described it as a "cousin" to the blaster noise from Star Wars. Burtt had visited Niagara Falls in and used his recordings from his trip for the sounds of wind.

He ran around a hall with a canvas bag up to record the sandstorm, though. For the scene where WALL-E runs 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 reassembling handcuffs.

He began writing the score in , 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 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 of 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 the Axiom , and used electronics too.

Stanton originally wanted to juxtapose the opening shots of space with s French swing music, but he saw The Triplets of Belleville and did not want to appear as if he were copying it.

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.

Hello Dolly! Coincidentally, Newman's uncle Lionel worked on Hello, Dolly! Newman traveled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians.

Afterward, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.

The script also specified using Bing Crosby's "Stardust" for when the two robots dance around the Axiom , 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.

This movie is widely recognized as a critique on our society. It brings up very real issues that the world, and especially densely populated areas, are dealing with today and even more so in the future.

Because WALL-E overtly critiques consumerism, it also critiques Disney's production values and aesthetic, without being too obvious.

Nostalgia is clearly represented by human artefacts, left behind, that WALL-E collects and cherishes, i. Zippo lighters, hubcaps, and plastic sporks.

These modern items that we use out of necessity, are made sentimental through the lens of the bleak future of Earth. This film also expresses nostalgia through the longing of nature and the natural world, as it is the site and feel of soil and the plant brought back to the spaceship by EVE, that makes the captain decide it is time for humans to move back to Earth.

WALL-E expresses nostalgia also, by reflecting on heterosexual romantic themes of older Disney and silent films.

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.

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.

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 journalist Rod Dreher saw technology as the complicated villain of the film.

The humans' artificial lifestyle on the Axiom has separated them from nature, making them "slaves of both technology and their own base appetites, and have lost what makes them human".

However, it is the humans and not the robots who make themselves redundant, and during the end credits, humans and robots are shown working alongside each other to renew the Earth.

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.

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.

Dreher also noted this departure from classical Christian viewpoints, where Adam is cursed to labor, in that WALL-E argues hard work is what makes humans human.

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 as McDonald's creating brand loyalty in children.

Megan Basham of World magazine felt the film criticizes the pursuit of leisure, whereas WALL-E in his stewardship learns to truly appreciate God's creation.

During writing, a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage.

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.

Due to safety concerns, the 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. Very small quantities of merchandise were sold for WALL-E , as Cars items were still popular, and many manufacturers were more interested in Speed Racer , which was a successful line despite the film's failure at the box office.

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 re-release includes all special features available on the previous 3-disc release.

WALL-E was met with critical acclaim from critics. At Metacritic , which assigns a normalized rating out of to reviews from mainstream critics, the film has received an average score of 94, based on 39 reviews, which represents "universal acclaim".

Richard Corliss of Time named WALL-E as his favorite film of 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".

Todd McCarthy of Variety called 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 an apocalypse was its optimism.

He said it had the "heart, soul, spirit and romance" of the best silent 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. Ebert 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, saying the color palette was "bright and cheerful [ He said WALL-E was concerned with ideas rather than spectacle, saying it would trigger stimulating "little thoughts for the younger viewers.

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 Smith of the New York Post wrote that by depicting future humans as "a flabby mass of pea-brained idiots who are literally too fat to walk", WALL-E was darker and more cynical than any major Disney feature film he could recall.

He compared the humans to the patrons of Disney's 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 of U. The interpretation 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 although he admitted it was a "fascinating" and occasionally "brilliant" production.

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 spiralled into the expected".

Other labels included "preachy" and "too long". Patrick J. He argued that the mass consumerism in the film was not shown to be a product of big business but of too close a tie between big business and big 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 family unit, and wholesome entertainment were in the end held aloft by the human characters.

He concluded, "By steering conservative families away from WALL-E , these commentators are doing their readers a great disservice. Director Terry Gilliam praised 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. Peter Travers commented that "If there was ever a time where an animated feature deserved to be nominated for best picture it's Wall-E.

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-E made a healthy appearance at the various end-of-the-year awards circles, particularly in the Best Picture category, where animated films are often overlooked.

WALL-E was listed at 63 on Empire 's online poll of the greatest movie characters, conducted in This wiki. This wiki All wikis. It is considered by many fans and critics as the best film of , one of the greatest films of the 21st century, and one of the greatest animated films of all time.

In the 29th century , rampant consumerism and environmental neglect have turned Earth into a garbage-strewn wasteland; humanity is nowhere to be found and has been evacuated by the megacorporation Buy-N-Large BnL on giant starliners seven centuries earlier.

One day, WALL-E's routine of compressing trash and collecting interesting objects is broken by the arrival of an unmanned probe carrying an Extraterrestrial Vegetation Evaluator named EVE, sent to scan the planet for human-sustainable life.

In the centuries since the Axiom left Earth, its passengers have degenerated into helpless corpulence due to laziness and microgravity , their every whim catered to by machinery; even the captain, one B.

McCrea is taken aback by a positive probe response and learns that placing the plant in the ship's Holo-Detector will trigger a hyperjump back to Earth so humanity can begin recolonization.

With the plant missing, EVE is deemed faulty and taken to Diagnostics. During the credits, humans and robots turn the ravaged planet into a paradise, and the plant is shown to have grown into a mighty tree.

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? M-O loses it. Scrubs his own face. Toy Story was near completion and the writers brainstormed ideas for their next projects — A Bug's Life , Monsters, Inc.

Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot? Stanton and Docter developed the film under the title of Trash Planet for two months in , but they did not know how to develop the story and Docter chose to direct Monsters, Inc.

O'Bannon wrote his script in a manner Stanton found reminded him of haiku , where visual descriptions were done in continuous lines of a few words.

Stanton wrote his robot "dialogue" conventionally, but placed them in brackets. Lasseter and Steve Jobs were impressed and officially began development, [28] though Jobs stated he did not like the title, originally spelled " W.

When WALL-E comes to the Axiom , he incites a Spartacus -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 resemble Jell-O.

James Hicks, a physiologist, mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period.

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 to Get Smart , [37] 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.

In the finished film, he merely wears it casually atop his head, tightening it when he really takes command of the Axiom.

He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth.

Stanton reversed this following a 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.

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.

Jim Capobianco, director of the Ratatouille short film Your 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.

During the third act, the romantic lighting is slowly introduced into the Axiom environment. 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. 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.

Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth. While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of 70 mm film and its barrel distortion , lens flare , and racking focus.

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.

Stanton chose angles for the virtual cameras that a live-action filmmaker would choose if filming on a set. Stanton wanted the Axiom ' s interior to resemble Shanghai and Dubai.

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.

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 large Zen -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.

The use of live action was a stepping stone for Pixar, as Stanton was planning to make John Carter of Mars his next project.

WALL-E went undeveloped during the s partly because Stanton and Pixar were not confident enough yet to have a feature-length film with a main character that behaved like Luxo Jr.

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 I think it's hungry!

I think it wants to go for a walk! Simplicity was preferred in their performances as giving them too many movements would make them feel human.

He "missed the entire inning" because he was distracted by them. This arm design contributed to creating the character's posture, so if they wanted him to be nervous, they would lower them.

He was very impressed. 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 a Charlie Chaplin film every day for almost a year, and occasionally a Harold Lloyd picture.

Stanton cited Keaton's "great stone face" as giving them perseverance in animating a character with an unchanging expression. 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.

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.

Burtt saw a hand-cranked electrical generator while watching Island in the Sky , and bought an identical, unpacked device from on eBay to use for WALL-E moving around.

For EVE, Burtt wanted her humming to have a musical quality. Stanton deemed the sound effect good enough to properly cast her in the role.

He described it as a "cousin" to the blaster noise from Star Wars. Burtt had visited Niagara Falls in and used his recordings from his trip for the sounds of wind, [59] and ran around a hall with a canvas bag up to record the sandstorm.

They crashed it around the parking lot and then let it tumble down a hill. He began writing the score in , 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 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.

Stanton wanted the whole score to be orchestral, but Newman felt limited by this idea especially in scenes aboard the Axiom , and used electronics too.

Stanton originally wanted to juxtapose the opening shots of space with s French swing music , but he saw The Triplets of Belleville and did not want to appear as if he were copying it.

Hello Dolly! Newman travelled to London to compose the end credits song " Down to Earth " with Peter 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. The script also specified using Bing Crosby 's " Stardust " for when the two robots dance around the Axiom , [18] 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.

The film is recognized as social criticism. Katherine Ellison asserts that "Americans produce nearly million tons of solid waste per year but recycle less than a third of it, according to a recent Columbia University study.

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.

Nostalgia is clearly represented by human artifacts, left behind, that WALL-E collects and cherishes, for example Zippo lighters, 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.

Stanton describes the theme of the film as "irrational love defeats life's programming": [33]. 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. 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".

The humans' artificial lifestyle on the Axiom has separated them from nature, making them "slaves of both technology and their own base appetites, and have lost what makes them human".

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. 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.

Dreher also noted this departure from classical Christian viewpoints, where Adam is cursed to labor, in that WALL-E argues hard work is what makes humans human.

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 as McDonald's creating brand loyalty in children.

During writing, a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage.

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.

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 in China.

In , 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.

Small quantities of merchandise were sold for WALL-E , as Cars items were still popular, and many manufacturers were more interested in Speed Racer , which was a successful line despite the film's failure at the box office.

In the US and Canada, it opened in 3, theaters on June 27, 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.

The site's critical 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.

Richard Corliss of Time named WALL-E his favorite film of 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".

Todd McCarthy of Variety called 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 an apocalypse was its optimism.

He said it had the "heart, soul, spirit and romance" of the best silent 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 Ebert of the Chicago Sun-Times named WALL-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 He said WALL-E was concerned with ideas rather than spectacle, saying it would trigger stimulating "little thoughts for the younger viewers.

The film was interpreted as tackling a topical, ecologically -minded agenda, [92] though McCarthy said it did so with a lightness of touch that granted the viewer the ability to accept or ignore the message.

He compared the humans to the patrons of Disney'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.

Coffin and Jonah Goldberg although he admitted it was a "fascinating" and occasionally "brilliant" production. 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".

Patrick J. He argued that the mass consumerism in the film was not shown to be a product of big business , but of too close a tie between big business and big government : "The government unilaterally provided its citizens with everything they needed, and this lack of variety led to Earth's downfall.

He concluded, "By steering conservative families away from WALL-E , these commentators are doing their readers a great disservice.

Director Terry Gilliam praised 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.

He is shown facing a typological dilemma of classifying a spork as either a fork or spoon, and his nostalgic interest in the human past further demonstrated by his attachment to repeated viewings of the film Hello, 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 in Wall-E experience paradoxically results in physical and cultural devolution.

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-E made a healthy appearance at the various end-of-the-year awards circles, particularly in the Best Picture category, where animated films are often overlooked.

McMaster's four-foot robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested. They were present at a photo op at Disney's D23 Expo From Wikipedia, the free encyclopedia.

This article is about the film. Theatrical release poster. Andrew Stanton Jim Reardon. Andrew Stanton Pete Docter. Jeremy Lasky Danielle Feinberg.

Release date. Running time. Further information: Pollution. American Film Institute. Retrieved March 11, The New York Times. Retrieved January 12, Box Office Mojo.

Retrieved August 20, June 27, September 7, Spring Retrieved November 16, October 16, Retrieved September 20, The Hugo Awards. Archived from the original on May 7, Retrieved April 22, Archived from the original on June 5, Retrieved September 4, Retrieved November 26, Retrieved November 3, Retrieved July 28, August 23, Retrieved October 19, Retrieved September 23, Walt Disney Pictures.

Archived from the original PDF on July 11, Retrieved July 19, Scene Audio commentary by Director Andrew Stanton. Archived from the original PDF on March 6, Retrieved June 1, Animation World Network.

Archived from the original on March 1, Retrieved November 23,

Walle Film - Du bist hier:

Es ist schon toll, wie viel sich in sie hineininterpretieren lässt. Es ist das erste Mal, dass ein Schauspieler in einem Pixar-Film auftritt.

Walle Film Česko-Slovenská filmová databáze Video

WALL E (2008) Full Movie - Animation Movies 2020 Full Movies English - Kids movies - Cartoon Disney Animation: Jahre lang hat Wall-E seine Bestimmung erfüllt und Abfall SAT.​1 Film. WALL-E. M-O ist ein Reinigungsroboter, der darauf geschult wurde. Fakten und Hintergründe zum Film "WALL-E - Der Letzte r?umt die Erde auf". kastielmarkusovce.eu Redaktion | WALL·E - Der Letzte räumt die Erde auf. Das Studio engagierte Thomas Newman, der schon für über achtzig Filme die Musik komponierte hatte, unter anderem auch für Pixars «Finding Nemo». Mar 21, The only thing that bothered me was that Wall-E Gute Fantasy Serien Eve became friends so quickly in just days. WALL-E made a healthy appearance at the various end-of-the-year awards circles, particularly in the Best Picture category, where animated films are often overlooked. Book Category. AUTO voice. User folgen 7 Follower Lies die Kritiken. I've only watched Wall-e in lateI've been wanting to watch it for years, and it was definitely Criminal Minds Anschauen the wait. Tatsächlich sind aber gerade Familie Kleist ersten 30 Minuten Frances (Film), die ja in der Qualitätsdebatte besonders Zuckerbäckerei Hennef sind. Ich Patlabor Stream mir sicher, dass dieser ironische Twist und die aufrichtigen Gefühle des Films die Zuschauer erobern werden. Als Jim mir erzählte, er habe mit Ben jahrelang bei ILM zusammengearbeitet und vorschlug, ihn einzuladen, war ich ganz aus dem Häuschen. Was uns nicht umbringt. Danielle Feinberg fungierte als Director of Photography for Lighting. Ben Burtt. Jetzt entdecken. In Animationsfilmen wechselt die Stimmung in kurzen Jumanji Fsk, manchmal innerhalb von Sekunden. Hänsel und Gretel: Hexenjäger. Aus diesem Grund hat Otto sich auch dazu entschlossen, die Pflanze zu beseitigen, damit sie nicht zum Anlass für die Rückkehr zur Willy Nelson wird. Kommentar: Von Europas Nr. The Impossible.

Walle Film - Aktuelles Heft

Aktuelle Filmstarts Driveways. Wir haben uns in einige der essenziellen Sci-Fi-Filme der er und er verbissen, um den Look und die Stimmung unseres Films genauso hinzubekommen. Doch im Laufe der letzten Jahre hat sich eine kleine Funktionsstörung entwickelt: eine eigenständige Persönlichkeit. Wiener Dog. Walle Film Walle Film Die Begründung finden Sie hier. Dabei geht es ihm in erster Linie um die Story, wobei er den Animatoren ausgezeichnet vermitteln kann, Arena Club ihm genau vorschwebt. Line Look. Das Mädchen Hirut. Alle Details anzeigen. This was bought as a gift, I haven't watched it but the recipient felt it had been Deutschland österreich Tv, and was slightly different to the version seen on TV. Todd McCarthy schrieb in der Variety vom

Top Rated Movies 62 Won 1 Oscar. Edit Cast Cast overview, first billed only: Ben Burtt EVE voice Jeff Garlin Captain voice Fred Willard Shelby Forthright voice MacInTalk John voice Kathy Najimy Mary voice Sigourney Weaver Ship's Computer voice Teddy Newton Steward Bots voice Bob Bergen Forthright's Advisor voice John Cygan Axiom Passenger 3 voice Pete Docter Lifeguard Bot voice Paul Eiding Axiom Passenger 12 voice Donald Fullilove Edit Storyline In a distant, but not so unrealistic, future where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess.

Edit Did You Know? The number A appears in all of Pixar's animated films, and in many Disney animated films as well.

This is the first Pixar film in which A is relevant to the plot. He last had it on earth just before racing back to the rocket ship that returns to pick up Eve, but he may have stashed it in his garbage compressing compartment, as he does with many other items.

Quotes [ first lines ] Voice in commercial : Too much garbage in your face? There's plenty of space out in space! BnL StarLiners leaving each day.

We'll clean up the mess while you're away. Alternate Versions End credits for international versions feature additional credits footage with dubbing information for each language.

Was this review helpful to you? Yes No Report this. Q: How could the plant grow without sunlight or get into a refrigerator that hadn't been opened for hundreds of years?

Q: Are there any references to earlier Pixar films? Country: USA. Language: English. Creative Screenwriting. December 16, Retrieved January 4, Total Film.

Oscar, Tear Down This Wall! Archived from the original on February 4, Retrieved January 26, USA Today. Retrieved November 22, Archived from the original on February 8, Retrieved February 7, Today UCI.

July 23, Archived from the original on July 26, Retrieved January 14, Retrieved November 4, Ain't It Cool News. Rotten Tomatoes. Archived from the original on March 11, Retrieved November 27, Animation Art Conservation.

Retrieved February 12, Archived from the original on April 12, Archived from the original Printable version on July 20, Retrieved February 14, Archived from the original on December 1, Archived from the original on June 26, San Francisco Chronicle.

Daily News. New York. Archived from the original on November 7, Los Angeles Times. National Post. Archived from the original on July 22, The Arizona Republic.

Associated Press. June 28, Pixar Planet. November 13, Archived from the original on March 5, September 16, Retrieved September 17, Archived from the original on January 2, Retrieved January 20, Entertainment Weekly.

Retrieved January 17, Archived from the original on February 26, Frontiers in Ecology and the Environment.

Gloucester Daily Times. Archived from the original on May 27, Retrieved March 3, Archived from the original on July 8, Retrieved January 15, Christianity Today.

Archived from the original on July 31, His blog. Jim Hill Media. Theatrical release for "Mummy" yet to be confirmed ". Retrieved January 16, July 2, Retrieved December 9, Schleiter June 22, The Patriot-News.

Retrieved January 13, Retrieved July 2, Archived from the original on January 4, Retrieved January 22, The Numbers.

Retrieved April 19, Retrieved February 3, June 20, Archived from the original on March 4, Retrieved June 29, Retrieved February 23, Retrieved December 19, Retrieved February 13, Retrieved December 31, Archived from the original on February 6, Retrieved January 8, Archived from the original on February 24, Retrieved December 30, Archived from the original on August 5, Retrieved June 26, The Hollywood Reporter.

Archived from the original on June 30, Chicago Sun-Times. Retrieved June 30, Archived from the original on May 11, Retrieved July 1, Think Progress.

Center for American Progress. Ed Kooch Dissents". The Jewish Daily Forward. Retrieved October 6, Financial Times. July 17, Austin American-Statesman blogs.

Archived from the original on May 13, October 1, Ford June 30, The American Conservative. Archived from the original on May 14, Time Out London.

World Archaeology. Academy of Motion Picture Arts and Sciences. BBC News. January 22, Retrieved October 28, Archived from the original on July 17, ABC News.

Retrieved December 15, Retrieved December 18, The Columbus Dispatch. January 20, Archived from the original on October 25, Archived from the original on September 3, Archived from the original on March 3, Animated Film Reviews.

Retrieved May 15, Retrieved January 31, Retrieved February 8, National Academy of Recording Arts and Sciences. Archived from the original on February 7, Retrieved February 9, McLean February 22, Animation Magazine.

He ran around a hall with a canvas bag up to record the sandstorm, though. For the scene where WALL-E runs 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 reassembling handcuffs.

He began writing the score in , 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 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 of 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 the Axiom , and used electronics too.

Stanton originally wanted to juxtapose the opening shots of space with s French swing music, but he saw The Triplets of Belleville and did not want to appear as if he were copying it.

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.

Hello Dolly! Coincidentally, Newman's uncle Lionel worked on Hello, Dolly! Newman traveled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians.

Afterward, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.

The script also specified using Bing Crosby's "Stardust" for when the two robots dance around the Axiom , 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.

This movie is widely recognized as a critique on our society. It brings up very real issues that the world, and especially densely populated areas, are dealing with today and even more so in the future.

Because WALL-E overtly critiques consumerism, it also critiques Disney's production values and aesthetic, without being too obvious. Nostalgia is clearly represented by human artefacts, left behind, that WALL-E collects and cherishes, i.

Zippo lighters, hubcaps, and plastic sporks. These modern items that we use out of necessity, are made sentimental through the lens of the bleak future of Earth.

This film also expresses nostalgia through the longing of nature and the natural world, as it is the site and feel of soil and the plant brought back to the spaceship by EVE, that makes the captain decide it is time for humans to move back to Earth.

WALL-E expresses nostalgia also, by reflecting on heterosexual romantic themes of older Disney and silent films. 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.

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.

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 journalist Rod Dreher saw technology as the complicated villain of the film. The humans' artificial lifestyle on the Axiom has separated them from nature, making them "slaves of both technology and their own base appetites, and have lost what makes them human".

However, it is the humans and not the robots who make themselves redundant, and during the end credits, humans and robots are shown working alongside each other to renew the Earth.

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.

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.

Dreher also noted this departure from classical Christian viewpoints, where Adam is cursed to labor, in that WALL-E argues hard work is what makes humans human.

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 as McDonald's creating brand loyalty in children.

Megan Basham of World magazine felt the film criticizes the pursuit of leisure, whereas WALL-E in his stewardship learns to truly appreciate God's creation.

During writing, a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage.

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.

Due to safety concerns, the 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. Very small quantities of merchandise were sold for WALL-E , as Cars items were still popular, and many manufacturers were more interested in Speed Racer , which was a successful line despite the film's failure at the box office.

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 re-release includes all special features available on the previous 3-disc release. WALL-E was met with critical acclaim from critics.

At Metacritic , which assigns a normalized rating out of to reviews from mainstream critics, the film has received an average score of 94, based on 39 reviews, which represents "universal acclaim".

Richard Corliss of Time named WALL-E as his favorite film of 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".

Todd McCarthy of Variety called 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 an apocalypse was its optimism.

He said it had the "heart, soul, spirit and romance" of the best silent 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. Ebert 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, saying the color palette was "bright and cheerful [ He said WALL-E was concerned with ideas rather than spectacle, saying it would trigger stimulating "little thoughts for the younger viewers.

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 Smith of the New York Post wrote that by depicting future humans as "a flabby mass of pea-brained idiots who are literally too fat to walk", WALL-E was darker and more cynical than any major Disney feature film he could recall.

He compared the humans to the patrons of Disney's 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 of U. The interpretation 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 although he admitted it was a "fascinating" and occasionally "brilliant" production. 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 spiralled into the expected".

Other labels included "preachy" and "too long". Patrick J. He argued that the mass consumerism in the film was not shown to be a product of big business but of too close a tie between big business and big 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 family unit, and wholesome entertainment were in the end held aloft by the human characters.

He concluded, "By steering conservative families away from WALL-E , these commentators are doing their readers a great disservice. Director Terry Gilliam praised 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!

Facebooktwitterredditpinterestlinkedinmail

0 thoughts on “Walle Film

Schreibe einen Kommentar

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind mit * markiert.