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WALL-E
File:WALL-Eposter.jpg
Theatrical release poster
Directed byAndrew Stanton
Written byAndrew Stanton
Peter Docter
Jim Reardon
Produced byJim Morris
John Lasseter
StarringBen Burtt
Elissa Knight
Sigourney Weaver
Jeff Garlin
Fred Willard
John Ratzenberger
Kathy Najimy
Edited byStephen Schaffer
Music byThomas Newman
Peter Gabriel (song)
Distributed byWalt Disney Pictures
Release dates
June 27, 2008 (USA)
July 18 2008 (UK)
September 11, 2008 (AUS)
Running time
98 min.[1]
CountryUnited States
LanguageEnglish
Budget$180,000,000[2]
Box office$130,355,107 (Total)
$127,196,028 (Domestic)
$3,159,079 (Overseas)[2]

WALL-E (promoted with an interpunct as WALL·E) is a 2008 computer animated adventure comedy science fiction film produced by Pixar Animation Studios and released to theaters by Walt Disney Pictures on June 27, 2008. WALL-E will be released onto DVD and Blu-ray on November 4 2008.[3] The film is directed by Andrew Stanton, who previously directed Finding Nemo. It follows a romance between two robots in the future. Most of the characters do not have human voices, instead communicating with body language and sounds (designed by Ben Burtt) that resemble voices. It is also the first animated feature by Pixar to have several segments featuring live action characters. The film has received almost universal praise from film critics.

Plot

In the 2100s, the megacorporation Buy 'n Large has assumed every economic service on Earth, including the government. Overrun by un-recycled waste, the planet eventually became so heavily polluted that it could no longer support life. In an attempt to keep humanity alive, Buy 'n Large sponsored an exodus to space aboard hundreds of massive "Executive Starliners," the largest of which is the Axiom. Thousands of adaptable robots known as WALL-E (Waste Allocation Load Lifter-Earth-Class) were left behind to clean up the planet. However, seven hundred years later, only one WALL-E (Ben Burtt) remains operational. The planet is still covered in trash, arranged by WALL-E into neat towers. After centuries of living in micro-gravity, the humans aboard the Axiom have lost considerable bone and muscle mass, rendering them too obese and weak to stand or move without robotic assistance. Every task is now automated, including piloting the ship, which is handled by the autopilot AUTO (voiced by the program MacInTalk).

WALL-E's centuries of prolonged activation have caused him to develop a personality. He collects items that he finds among the refuse, befriends a cockroach, and saves a seedling plant. He constantly watches a videotape of the 1969 movie Hello, Dolly! on an old iPod magnified through a Fresnel lens, especially the performances of "Sunday Clothes" and "It Only Takes a Moment". This teaches him emotion, emphasizing the act of holding hands (which becomes a motif). One day, he meets EVE (Extraterrestrial Vegetation Evaluator, Elissa Knight), a feminine robot from the Axiom sent to Earth to find plant life. He falls in love with her, but because her only concern is for her directive, she pays this no heed. When WALL-E shows her the plant he found, she stores it inside herself and deactivates. WALL-E goes to great lengths to protect her until she is retrieved by the ship that delivered her. Distraught, WALL-E clings to the outer hull as it departs.

Aboard the Axiom, WALL-E follows EVE to her destination. His peculiar behavior causes both humans and robots to act outside their normal routine. In particular, WALL-E causes an M-O (Microbe Obliterator) model-cleaning robot to leave its designated path in order to obsessively clean the filth WALL-E leaves in his wake, and inadvertently awakens two humans, John and Mary, to the world around them and each other.

EVE tries to present the plant to Captain B. McCrea (Jeff Garlin), but finds it is missing. AUTO then tells the captain that EVE has malfunctioned, and she is sent to the robot repair ward with WALL-E. Mistakenly thinking that the diagnostic machine is trying to hurt her, WALL-E takes EVE's gun arm and accidentally frees all the malfunctioning robots. In her attempt to retrieve the arm, she and WALL-E are labeled as rogue robots. EVE tries to send WALL-E back to Earth in an escape pod, but he refuses to leave without her. AUTO's assistant, GO-4, arrives and deposits the missing plant in the pod, which he then launches with the self-destruct armed. WALL-E manages to save the plant, whereupon EVE returns it to McCrea. Curious to see images of Earth, McCrea projects EVE's security camera footage, where she sees the lengths that WALL-E went to protect her. The captain is enthralled by earlier images depicting life as it was before the rise of Buy 'n Large and shocked by the environmental devastation on Earth depicted in EVE's recordings. He decides that humanity must return to Earth to make amends.

When AUTO insists that they cannot return to Earth, he is forced to reveal that Buy 'n Large's CEO, Shelby Forthright (Fred Willard), ordered the autopilots never to do so, having deemed the planet too toxic to ever support life again. Unable to disobey the order, AUTO locks the captain in his quarters and tries to dispose of the plant. When WALL-E refuses to relinquish it, AUTO electrocutes him and deactivates EVE, throwing them and the plant into a garbage chute. EVE finds WALL-E, who has been severely damaged, and searches in vain for replacement parts, even dismissing her directive to do so. WALL-E presents the plant, insisting that EVE carry out her directive, which will bring them back to Earth where he can be fixed.

Carrying the injured WALL-E, EVE recruits the malfunctioning robots and makes her way to the main part of the ship. They are aided by the captain, who hotwires the operating systems and directs them to the holo-detector, a pedestal that rises from the floor on one of the passenger decks. The captain and AUTO have a brief battle, which causes the ship to turn on to its side and pile the immobile humans in a corner. While EVE protects the humans from the vehicles falling towards them, AUTO forces the holo-detector back into the floor. WALL-E uses his body to hold it open, which crushes him, much to EVE's horror. McCrea stands up under his own power (to the amazement of the passengers) and manually overrides AUTO, restoring order aboard the ship. The robots work together to place the plant in the holo-detector, releasing WALL-E and activating the automatic hyperjump back to Earth.

Having arrived on Earth, EVE frantically repairs WALL-E. However, the extent of the repairs seems to have wiped his memory and personality: he begins crushing his treasured knick-knacks into cubes, following his original directive. EVE's attempts to make him remember prove useless; as a parting gesture, she takes hold of his hand and leans her head towards his while humming the song "It only takes a moment". A static discharge (acting as a "kiss") jumps between the two. WALL-E's memory reboots and he suddenly recognizes her as they clasp hands. With a renewed sense of purpose, humanity and robots begin working together to restore Earth's biosphere, directed by the enthusiastic McCrea.

Cast

See Also: List of robots from WALL-E
  • Ben Burtt is the sound engineer for WALL-E, the main character of the film. WALL-E, which stands for "Waste Allocation Load Lifter Earth-class", is a mobile trash compactor and the last in a massive line created by the Buy 'n Large corporation to gather and compact the waste created by the humans that utilized their products. WALL-E is solar-powered and constantly replaces his worn parts with those from non-functional WALL-E units. WALL-E's long and lonely life has granted him sentience and emotion. His loneliness is soon requited via EVE, a robot that comes to Earth searching for signs of life.
  • Elissa Knight as EVE (Extraterrestrial Vegetation Evaluator), a sleek, ergonomically advanced robotic probe whose main function is to locate plant life in order to determine if the Earth is capable of supporting human life. She is equipped with scanners as well as a retractable plasma blaster in her right arm, the latter of which she is quick to use when provoked. Although EVE at first appears to be a no-nonsense, stoic robot, upon meeting WALL-E she soon begins to show signs of light-heartedness, even if his antics do annoy her from time to time. Her design was inspired after the sleek, white versions of Apple, Inc. products like the iPod.[4]
  • Jeff Garlin as Axiom Captain B. McCrea.
  • Fred Willard as Shelby Forthright, C.E.O. of Buy 'n Large. Willard is the only cast member in this film who plays a live-action character with a speaking role. In the film, a global cleanup project is initiated by Forthright with much of humanity evacuated into space; the project goes awry when nearly all of the WALL-E units fail, persuading Forthright to forsake hope. His appearance has been compared to that of United States President Ronald Reagan.[citation needed]
  • Ben Burtt is the sound engineer for M-O (Microbe Obliterator), one of the maintenance robots built by the Axiom who cleans the filth in the ship, and inspects incoming shipments for foreign contaminants. M-O is annoyed by the amount of filth on WALL-E, and learns to act of his own accord to follow after WALL-E in an attempt to clean him. M-O's warning and catchphrase, "Foreign Contaminant", were created using PlainTalk.
  • John Ratzenberger as John, a human caused to become aware of his surroundings by WALL-E. Becomes companion of Mary.
  • Kathy Najimy as Mary, a human made aware of her surroundings by WALL-E. Becomes companion of John.
  • Sigourney Weaver as the Ship's Computer. Weaver's casting was a nod to the Alien films.[5]
  • MacInTalk sounds were used for AUTO, though Burtt originally wanted to use old Maritime military sounds for the character. AUTO is the AXIOM's internal autopilot, built into the ship's steering wheel. He has a single, HAL-like eye. He serves as the antagonist of the film. His responsibilities include following Directive A113, to ensure that the ship never returns to Earth. Upon discovering a small plant retrieved by EVE, AUTO seeks to dispose of it, thus maintaining the status quo.[6]

Additional robots

Sound effects produced by Ben Burtt.

  • B-RLA - A umbrella-like robot on the "Axiom". Takes part in WALL-E's escape from the repair bay.
  • BURN-E – A welding robot on the Axiom.
  • D-FIB - A defibrilator robot on the Axiom.
  • GO-4 – A robot serving as AUTO's messenger.
  • HAN-S - A massage robot on the Axiom.
  • L-T - A small light-like robot on the Axiom.
  • PR-T – A makeup robot on the Axiom. Takes part in WALL-E's escape from the repair bay. Featured on the BnL website.
  • VAQ-M – A vacuum cleaner robot aboard the Axiom. Takes part in WALL-E's escape from the repair bay. Featured on the BnL website.
  • VN-GO - A robot with a long paintbrush on the Axiom.
  • WALL-A (Waste Allocation Load Lifter Axiom-class) – A large mobile trash compactor aboard the Axiom.

Production

WALL-E is the only one still truly living. And what is the ultimate purpose of living? To love. And WALL-E falls head over heels with a robot named EVE. Now, Wall-E's feelings aren't reciprocated because, well, she has no feelings. She's a robot, cold and clinical. WALL-E is the one who has evolved over time and garnered feelings. So in the end, it's gonna be WALL-E's pursuit to win EVE's heart, and his unique appreciation of life to become mankind's last hope to rediscover its roots. In short, it's going to take a robot's love to help make the world go round.

Andrew Stanton[6]

Andrew Stanton conceived WALL-E before Toy Story was made:[7] the idea was, "What if mankind evacuated Earth and forgot to turn off the last remaining robot?"[8] Pete Docter developed the film for two months in 1995, after Stanton explained the story to him, but he decided to make Monsters, Inc. (2001) instead, as he was unsure of telling a love story.[9] The idea continued to preoccupy Stanton, because of his love of space opera and personifying inanimate objects.[6]

After directing Finding Nemo, Stanton felt they "had really achieved the physics of believing you were really under water, so I said 'Hey, let’s do that with air.' Let’s fix our lenses, let’s get the depth of field looking exactly how anamorphic lenses work and do all these tricks that make us have the same kind of dimensionality that we got on Nemo with an object out in the air and on the ground.'"[7] Producer Jim Morris added that the film was animated so that it would feel "as if there really was a cameraman".[10] Dennis Muren was hired to advise Pixar on replicating science fiction films from the 1960s and 1970s, including elements such as 70 mm frames, barrel distortion and lens flare.[11][12] Scale models were made for Muren, which he used to teach Pixar.[13]

Life is nothing but imperfection and the computer likes perfection, so we spent probably 90% of our time putting in all of the imperfections, whether it's in the design of something or just the unconscious stuff. How the camera lens works in [a real] housing is never perfect, and we tried to put those imperfections [into the virtual camera] so that everything looks like you're in familiar [live-action] territory.

Andrew Stanton[14]

The design of the robots came about by Stanton telling his designers, "See it as an appliance first, and then read character into it."[7] In creating the title character, the animators were inspired by a pair of binoculars and Luxo Jr., the lamp featured in the Pixar logo.[6] Stanton was playing with a pair of binoculars, which looked happy or sad depending on whether they were upside down or not.[11] Stanton felt "you don't need a mouth, you don't need a nose, you get a whole personality just from [the eyes]", which meant the audience would feel he is "not just a human in a robot shell". WALL-E's body came from the logic of having his body curl up like a turtle and tank treads that would allow him to overcome any terrain. The director also acknowledged he may have been subconsciously influenced by Johnny 5 from the film Short Circuit (which he saw once).[12]

Stanton pitched the story to Ben Burtt who signed on to do the sound design.[6] There is little traditional dialogue in the film; Stanton joked, "I’m basically making R2-D2: The Movie", in reference to Burtt's work on Star Wars. To create dialogue, Burtt took various mechanical sounds, and combined them to resemble dialogue.[8] When WALL-E recharges his battery by means of solar energy, he makes the same startup chime as the recent Macintosh computers.[15] Executive producer John Lasseter said of the film's lack of dialogue that "the art of animation is about what the character does, not what it says. It all depends on how you tell the story, whether it has a lot of dialogue or not."[16]

As Cars was dedicated to the memory of Joe Ranft, WALL-E was dedicated to Justin Wright (1981-2008), a Pixar animator who had worked on Ratatouille.[17] In the Pixar tradition, a list of "Production Babies" was included in the closing credits. Currently, WALL-E holds the record for the highest production budget of any Pixar film at $180 million.

References to other Pixar films

Pixar films often contain references to the studio's other projects. When WALL-E builds a small statue of EVE, one of the arms is a signature Luxo-style lamp. EVE scans a Pizza Planet truck from Toy Story. A dusty Rex, from Toy Story, appears on WALL-E's conveyor belt of junk (between two bowling pins). There is a Hamm toy, from Toy Story as well, on the conveyor belt of junk later in the movie. A toy of Mike from Monsters, Inc. also appears on this conveyor belt. When WALL-E settles down for the night with his cockroach pal at the beginning of the film, on top of the shelf above him is a Frozone bobble head from The Incredibles. During the closing credits, a mosaic version of a sea turtle from Finding Nemo appears. A113, a phrase that has been put into every Pixar film to date, is an important code in the movie. John Ratzenberger also voices one of the characters, as he has done for every full-length Pixar release.[18]


Soundtrack

Untitled

The soundtrack was released on June 24, 2008. The album features "Put On Your Sunday Clothes" and "It Only Takes a Moment" by Michael Crawford from Hello, Dolly!, and "La Vie en Rose" by Louis Armstrong, and "Down to Earth" by Peter Gabriel. The music was mainly composed by Thomas Newman with orchestration credit to Carl Johnson, JAC Redford, Thomas Pasatieri, and Gary K. Thomas.


Track Listing

  1. Put On Your Sunday Clothes (performed by Michael Crawford) 1:17
  2. 2815 A.D. 3:28
  3. WALL-E 2:00
  4. The Spaceship 1:42
  5. EVE 1:02
  6. Thrust 0:42
  7. Bubble Wrap 0:51
  8. La Vie en Rose (performed by Louis Armstrong) 3:24
  9. Eye Surgery 0:41
  10. Worry Wait 1:19
  11. First Date 1:20
  12. EVE Retrieve 2:20
  13. The Axiom 2:25
  14. BnL 0:20
  15. Foreign Contaminant 2:07
  16. Repair Ward 2:20
  17. 72 Degrees and Sunny 3:13
  18. Typing Bot 0:48
  19. Septuacentennial 0:15
  20. Gopher 0:40
  21. WALL-E's Pod Adventure 1:14
  22. Define Dancing 2:23
  23. No Splashing No Diving 0:48
  24. All That Love's About 0:37
  25. M-O 0:47
  26. Directive A-113 2:06
  27. Mutiny! 1:29
  28. Fixing WALL-E 2:08
  29. Rogue Robots 2:03
  30. March of the Gels 0:55
  31. Tilt 2:01
  32. The Holo-Detector 1:08
  33. Hyperjump 1:05
  34. Desperate EVE 0:57
  35. Static 1:43
  36. It Only Takes a Moment (performed by Michael Crawford) 1:08
  37. Down to Earth (performed by Peter Gabriel) 5:59
  38. Horizon 12.2 1:27
  • Original Score by Thomas Newman except:
    • Tracks 1 & 36 – composed by Jerry Herman, from the film Hello Dolly!
    • Tracks 5 & 22 – composed by Thomas Newman and Peter Gabriel
    • Track 14 – written by Bill Bernstein and Thomas Newman
    • Track 37 – music by Peter Gabriel and Thomas Newman, Lyrics by Peter Gabriel

Release

File:WallEElCapitan.jpg
WALL-E marquee at the El Capitan Theatre, Los Angeles, on June 26, 2008.

The film received its premiere at the Greek Theatre in Los Angeles on June 23, 2008.[19] WALL-E opened in wide release in the United States and Canada on June 27, 2008 and grossed $23.1 million in its opening day.[20] In its opening weekend, the film grossed $63 million in 3,992 theaters, ranking #1 at the box office.[21] The opening weekend would give the film the third-best opening weekend for a Pixar film.[22]

Continuing a Pixar tradition, WALL-E was paired with a short film for its theatrical release. The attached film was Presto.

Reception

WALL-E received near-universal acclaim from film critics.[23] Rotten Tomatoes reported that 97% of critics gave the film positive reviews, based upon a sample of 172 reviews, with an average rating of 8.6/10.[24] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film has received an average score of 94, based on 38 reviews.[23]

Todd McCarthy of Variety called the film "Pixar's ninth consecutive wonder", saying it was imaginative yet straightforward. Citing WALL-E's "adroit" borrowing from other works, McCarthy said it pushed the boundaries of animation in managing to balance 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. McCarthy also had praise for Thomas Newman's musical score and the visuals, for which he cited cinematographer Roger Deakins' input as a visual consultant as a possible factor.[25]

Kirk Honeycutt of The Hollywood Reporter declared that WALL-E surpassed the achievements of Pixar's previous eight features, saying that the film had the "heart, soul, spirit and romance" of the best silent films. He said that the filmmakers managed to tell a terrific story through visual and aural ideas which enabled the robotic characters to convey "a rainbow of emotions". He said the visuals were arguably Pixar's best and praised the creation of a ruined Earth city and a human spaceship as "fantastically imaginative". 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." Honeycutt concluded by saying that despite the film's acknowledged nods to other works (2001: A Space Odyssey, and moments where robots "run riot" bringing to mind Monsters, Inc.), WALL-E could be Pixar's most original work to date.[26]

Roger Ebert writing in the Chicago Sun-Times said WALL-E succeeded in three areas: as "an enthralling animated film, a visual wonderment, and a decent science-fiction story". Ebert said the scarcity of dialogue would allow it to "cross language barriers" in a manner appropriate to the global theme, and he had praise for the visual effects, saying the color palette was "bright and cheerful... and a little bit realistic". He cited early Disney animations that successfully translated human expressions onto non-human characters as an influence on the title character. He said the film managed to generate a "curious" regard for the WALL-E, comparing his design ("rusty and hard-working and plucky") favorably to more obvious attempts at creating "lovable" lead characters. Ebert called the storytelling "enchanting" and said the film could be enjoyed by adults and children alike. He said WALL-E was concerned with ideas rather than spectacle, saying it may require "a little thought" on the part of the audience, and that this could be particularly stimulating to younger viewers.[27]

Commentary

The film was interpreted as tackling a topical, ecologically minded agenda.[24][25][26] Todd McCarthy said it did so with a lightness of touch that granted the viewer the ability to accept or ignore the message.[25] Jessica Jensen of The Huffington Post, while praising the film overall, felt it did not make enough of a point with its environmental themes. She suggested it should have had environmental advice or a website link during the end credits, adding it was "troubling" that by the end "humans return to Earth and it seems as if everything will just be hunky-dory".[28] The film's ecological theme was criticized by conservative commentators such as CNN Headline News host Glenn Beck, and contributors for National Review Online;[29] Shannen W. Coffin said that the film was "leftist propaganda about the evils of mankind",[30] and Jonah Goldberg wrote that he agreed with the charges of hypocrisy and "Malthusian fear mongering" leveled at the film by others, but said that it was "fascinating" and occasionally "brilliant".[31]

Patrick J. Ford of The American Conservative said WALL-E's conservative critics were missing lessons in the film that he felt were appealing to traditional conservatism. He argued that the mass consumerism in the film wasn't 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", he 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."[32] Andrew Stanton commented on the reaction to the environmental themes by denying an intentional ecological message,[33] saying that people were making connections that he "never saw coming." He said the circumstances of humanity's abandoning the Earth arose merely as a way of telling the story, "reverse-engineered" from the initial concept of using refuse as both a visual shorthand that would be easy for children to understand, and as a way of depicting the title character as holding a low-status, menial job.[34]

Kyle Smith, author and columnist for the New York Post, wrote that in depicting humans of the future as "a flabby mass of peabrained idiots who are literally too fat to walk", WALL-E was darker and more cynical than any major Disney cartoon he could recall. He compared the humans in the film to the patrons of Disney World, adding, "I'm also not sure I've ever seen a major corporation spend so much money to issue an insult to its customers."[35] Maura Judkis of U.S. News & World Report questioned whether this depiction of "frighteningly obese humans" would resonate with children, making them more likely to "play outside rather than in front of the computer, to avoid a similar fate".[36] Stanton denied that his intention was to pass comment on obesity, saying the purpose was instead to portray human overdependency.[34]

References

  1. ^ "Pixar Projection - Home". Pixar.com. Retrieved 2008-06-25.
  2. ^ a b "Production Budget of Wall E". Boxofficemojo . {{cite news}}: Cite has empty unknown parameter: |1= (help)
  3. ^ http://ultimatedisney.com/ultimateanimated.htm
  4. ^ Siklos, Richard (2008-05-09). "Apple and Eve". CNNMoney.com. Retrieved 2008-07-07. {{cite news}}: Check date values in: |date= (help)
  5. ^ Eric Vespe (2008-04-09). "Quint discusses the Pixar half of the Disney Animation Presentation! UP! WALL-E! TOY STORY 3! NEWT! THE BEAR & THE BOW!". Ain't It Cool News. Retrieved 2008-04-09. {{cite news}}: Check date values in: |date= (help)
  6. ^ a b c d e Peter Scieretta (2007-07-28). "Comic-Con: Indepth Wall-E Details Revealed". Slash Film. Retrieved 2007-10-03. {{cite news}}: Check date values in: |date= (help)
  7. ^ a b c Eric Vespe (2007-08-11). "Quint sits down with WALL·E director Andrew Stanton!!!". Ain't It Cool News. Retrieved 2007-08-11. {{cite news}}: Check date values in: |date= (help)
  8. ^ a b Eric Vespe (2007-08-01). "Quint catches up on Disney's Prince Caspian and WALL·E panel at Comic-Con!!!". Ain't It Cool News. Retrieved 2007-08-01. {{cite news}}: Check date values in: |date= (help)
  9. ^ James White (April 2008). "How We Made WALL-E". Total Film. pp. 113–116.
  10. ^ Tom Ambrose (2007-07-26). "Heroes of 2008". Empire. p. 72. {{cite news}}: Check date values in: |date= (help)
  11. ^ a b Eric Vespe (2008-02-24). "WonderCon: Quint sees some WALL-E and Prince Caspian footage at Disney's panel! Plus Q&A with Andrew Stanton!". Ain't It Cool News. Retrieved 2008-02-24. {{cite news}}: Check date values in: |date= (help)
  12. ^ a b Alex Billington (2008-02-24). "WonderCon: Pixar's Wall-E Presentation - Incredible!". FirstShowing.net. Retrieved 2008-02-24. {{cite news}}: Check date values in: |date= (help)
  13. ^ Anthony Baratta (2008-04-07). "First Look: Disney/Pixar's WALL-E". ComingSoon.net. Retrieved 2008-04-07. {{cite news}}: Check date values in: |date= (help)
  14. ^ Desowitz, Bill. "Hello, WALL•E!: Pixar Reaches for the Stars". Animation World Magazine. Retrieved 2008-07-07.
  15. ^ Dawn C. Chmielewski (2008-06-25). "'Wall-E' draws design inspiration from Apple". Los Angeles Times. Retrieved 2008-06-28. {{cite news}}: Check date values in: |date= (help)
  16. ^ Steve Fritz (2007). "A talk with John Lasseter: What the man in Disney's chair has to say". Newsarama. Retrieved 2007-11-04.
  17. ^ "Justin Wright (IV)". Internet Movie Database. 2008. Retrieved 2008-07-02.
  18. ^ Peter Sciretta (2008-06-27). "WALL-E Easter Eggs". Slashfilm.com. Retrieved 2008-07-02. {{cite web}}: Check date values in: |date= (help)
  19. ^ "Wall-E rolls out for world premiere". The Press Association. 2008-06-23. Retrieved 2008-06-23.
  20. ^ "WALL-E (2008) - Daily Box Office Results". Box Office Mojo. Retrieved 2008-06-29.
  21. ^ "WALL-E (2008) - Weekend Box Office Results". Box Office Mojo. Retrieved 2008-06-29.
  22. ^ "Pixar Movies". Box Office Mojo. Retrieved 2008-06-29.
  23. ^ a b "WALL-E: Reviews". Metacritic. CNET Networks, Inc. Retrieved 2008-07-08.
  24. ^ a b "WALL-E Movie Reviews". Rotten Tomatoes. IGN Entertainment, Inc. Retrieved 2008-07-08.
  25. ^ a b c Todd McCarthy (2008-06-26). "WALL-E Review". Variety. Retrieved 2008-06-26. {{cite news}}: Check date values in: |date= (help)
  26. ^ a b Kirk Honeycutt (2006-06-25). "Film Review: WALL-E". The Hollywood Reporter. Retrieved 2008-06-26. {{cite news}}: Check date values in: |date= (help)
  27. ^ Roger Ebert (2008-06-26). "WALL-E review". Chicago Sun-Times. Retrieved 2008-06-30. {{cite news}}: Check date values in: |date= (help)
  28. ^ Jessica Jensen (2008-06-30). "Wall-E: Robotic Ode to Environmental Protection". The Huffington Post. Retrieved 2008-06-30.
  29. ^ Ali Frick (2008-07-01). "Right-Wing Apoplectic Over Pixar's WALL-E: 'Malthusian Fear Mongering,' 'Fascistic Elements'". Think Progress. Center for American Progress. Retrieved 2008-07-01. {{cite web}}: Check date values in: |date= (help)
  30. ^ Shannen W. Coffin (2006-06-30). "WALL-E, No Thanks". National Review Online. Jack Fowler. Retrieved 2008-07-01. {{cite web}}: Check date values in: |date= (help)
  31. ^ Jonah Goldberg (2006-06-30). "Re: WALL-E". National Review Online. Jack Fowler. Retrieved 2008-07-01. {{cite web}}: Check date values in: |date= (help)
  32. ^ Patrick J. Ford (2008-06-30). "WALL-E's Conservative Critics". The American Conservative. Ron Unz. Retrieved 2008-07-02. {{cite journal}}: Check date values in: |date= (help)
  33. ^ Sheila Roberts. "Andrew Stanton Interview, WALL-E". MoviesOnline. Retrieved 2008-07-05.
  34. ^ a b Megan Basham (2008-06-28). "WALL-E world". World Magazine. Nickolas S. Eicher. Retrieved 2008-07-02. {{cite journal}}: Check date values in: |date= (help)
  35. ^ Kyle Smith (2008-06-26). "Disney's "Wall-E": A $170 Million Art Film". kylesmithonline.com. Retrieved 2008-07-01. {{cite web}}: Check date values in: |date= (help)
  36. ^ Maura Judkis (2008-06-30). "Will 'WALL-E' Make Us Greener?". U.S. News & World Report. Kerry F. Dyer. {{cite news}}: |access-date= requires |url= (help); Check date values in: |date= (help); Unknown parameter |utl= ignored (help)

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