Wall•E ist ein kleiner Roboter und hat die Aufgabe, die total verdreckte Erde aufräumen. Doch er ist der letzte seiner Art und ganz allein. Als die Roboterdame . Dass ein Film über Roboter alles andere als leblos sein kann, bewies der Pixar-Animationsfilm „WALL·E – Der Letzte räumt die Erde auf“. koneruhumpy.com - Kaufen Sie Wall-E - Der letzte räumt die Erde auf (Special Edition, 2 DVDs) günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert.
WALL·E 2: Gibt es ein Wiedersehen mit dem Aufräumroboter?WALL·E war mit Abstand der süßeste und herzerwärmendste Roboter, der je animiert über die Leinwände geflackert ist. erschien die. koneruhumpy.com - Kaufen Sie Wall-E - Der letzte räumt die Erde auf (Special Edition, 2 DVDs) günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Wall•E ist ein kleiner Roboter und hat die Aufgabe, die total verdreckte Erde aufräumen. Doch er ist der letzte seiner Art und ganz allein. Als die Roboterdame .
Wall-E 2 VIDEO: BURN·E Trailer VideoWALL E (2008) Full Movie - Animation Movies 2020 Full Movies English - Kids movies - Cartoon Disney
Scrubs his own face. Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter , Pete Docter , and Joe Ranft in 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,  though Jobs stated he did not like the title, originally spelled " W.
While the first act of WALL-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 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 ,  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.
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 the Waster 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 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.
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.
WALL-E was the most complex Pixar production since Monsters, Inc. 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. When WALL-E shows EVE all his collected items, all the lights he has collected light up to give an inviting atmosphere, like a Christmas 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.
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 with Finding Nemo and so for WALL-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 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.
Stanton wanted WALL-E to be a box and EVE to be like an egg. 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.
Stanton wanted EVE to be at the higher end of technology, and asked iPod designer Jonathan Ive to inspect her design.
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.
Producer Jim Morris recommended Ben Burtt as sound designer for WALL-E because Stanton kept using R2-D2 as the benchmark for the robots.
During production Burtt had the opportunity to look at the items used by Jimmy MacDonald , Disney's in-house sound designer for many of their classic films.
Burtt used many of MacDonald's items on WALL-E. Because Burtt was not simply adding sound effects in post-production, the animators were always evaluating his new creations and ideas, which Burtt found an unusual experience.
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,  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. Thomas Newman recollaborated with Stanton on WALL-E since the two got along well on Finding Nemo , which gave Newman the Annie Award for Best Music in an Animated Feature.
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.
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! 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 ,  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.
In "WALL-E: from environmental adaption to sentimental nostalgia ," 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 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.
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. 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".
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.
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.
Stanton, who is a Christian,  named EVE after the Biblical figure because WALL-E's loneliness reminded him of Adam , before God created his wife.
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.
WALL-E premiered at the Greek Theatre in Los Angeles on June 23, The film was dedicated to Justin Wright — , a Pixar animator who had worked on Ratatouille and died of a heart attack before WALL-E ' s release.
Walt Disney Imagineering WDI built animatronic WALL-Es to promote the picture, which made appearances at Disneyland Resort ,  the Franklin Institute , the Miami Science Museum , the Seattle Center , and the Tokyo International Film Festival.
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.
Thinkway, which created the WALL-E toys, had previously made Toy Story dolls when other toy producers had not shown an interest. The film was released on DVD and Blu-ray Disc by Walt Disney Studios Home Entertainment on November 18, The various editions included the short film Presto , another short film BURN-E which is about the lamp repairing robot briefly seen in WALL-E , the Leslie Iwerks documentary film The Pixar Story , shorts about the history of Buy n Large, behind-the-scenes special features, and a digital copy of the film that can be played through iTunes or Windows Media Player -compatible devices.
WALL-E was released on 4K Blu-ray on March 3, In the US and Canada, WALL-E opened in 3, theaters on June 27, The American Film Institute named WALL-E as one of the best films of ;  the jury rationale states:.
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 website'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".
It "evoke[d] the splendor of the movie past" and he also compared WALL-E and EVE's relationship to the chemistry of Spencer Tracy and Katharine Hepburn.
Scott of The New York Times , Christopher Orr of The New Republic , Ty Burr and Wesley Morris of The Boston Globe , Joe Morgenstern of The Wall Street Journal , and Anthony Lane of The New Yorker.
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,  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. Ford of The American Conservative said WALL-E ' s conservative critics missed lessons in the film that he felt appealed to traditional conservatism.
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.
WALL-E won the Academy Award for Best Animated Feature and was nominated for Best Original Screenplay , Best Original Score , Best Original Song , Sound Editing , and Sound Mixing at the 81st Academy Awards , which it lost to Slumdog Millionaire Original Score, Original Song, Sound Mixing , The Dark Knight Sound Editing , and Milk Original Screenplay.
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.
It has won the award, or the equivalent of it, from the Boston Society of Film Critics tied with Slumdog Millionaire ,  the Chicago Film Critics Association ,  the Central Ohio Film Critics awards,  the Online Film Critics Society ,  and most notably the Los Angeles Film Critics Association , where it became the first animated feature to win the prestigious award.
It won Best Animated Feature Film at the 66th Golden Globe Awards , 81st Academy Awards, and the Broadcast Film Critics Association Awards At the British National Movie Awards , which is voted for by the public, it won Best Family Film.
In , Mike McMaster,  an American robotics hobbyist, began working on his own model of WALL-E. The final product was built with more moving parts than the WALL-E which roams around Disneyland.
McMaster's four-foot robot made an appearance at the Walt Disney Family Museum and was featured during the opening week of Tested.
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.
They were present at a photo op at Disney's D23 Expo From Wikipedia, the free encyclopedia. This article is about the film.
For the soundtrack, see WALL-E soundtrack. For the video game, see WALL-E video game. Macht da eine Fortsetzung wirklich Sinn? Inhaltlich ist der Film also in sich abgeschlossen.
Die Liebesgeschichte kann man mit dieser Blu-ray noch mal nachgucken:. Disney Filme Narnia 4. Fluch der Karibik 6. So ähnlich scheint das auch die Produktionsfirma Pixel zu sehen.
Diese hat nämlich bekannt gegeben, dass es keinen zweiten Film geben wird. Ihrer Meinung nach wurde die Liebesgeschichte auserzählt und damit ist auch der Film zuende.
Einen zweiten Teil wird es wohl so schnell nicht geben. Für Links auf dieser Seite erhält GIGA ggf.
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