Can robots take over the film business?

Wall-E facts

What if humanity left the polluted earth and someone forgot to shut down the last robot?

That is the fascinating and crazy basic idea of ​​WALL-E, the new computer-animated stroke of genius from Disney / Pixar. The viewer can expect an indescribable journey through space and time full of humor, heart, imagination and a lot of emotion. With WALL-E, the effect wizards from Pixar once again prove their ability to create believable worlds and once again set standards in terms of story, characters and computer animation.

WALL-E is the ninth production by Disney and Pixar Animation Studios and the long-awaited sequel to their latest triumph, RATATOUILLE (2007). Not only did the film win an Oscar® for Best Animated Feature, it was also the best-discussed feature film of 2007 and a box-office hit around the world. In total, Pixar's first eight films grossed a staggering $ 4.3 billion worldwide.

WALL-E is the latest adventure from director and writer Andrew Stanton, who won the Academy Award® for FINDET NEMO ("Finding Nemo", 2003). He joined Pixar in 1990 as the second animator and ninth employee, a then still small but emerging company. Stanton co-wrote the stories of the first five Pixar films, co-directed DAS GROSSE KRABBELN ("A Bug's Life", 1998), was executive producer of DIE MONSTER AG ("Monsters, Inc.", 2001) and won finally the Oscar® for FINDING NEMO.

WALL-E was produced by Jim Morris, who during his eighteen years at ILM was involved in some of the film industry’s most groundbreaking visual effects (STAR ​​WARS: EPISODE I and II, PEARL HARBOR, ABYSS, three of the HARRY POTTER films, among others ). Lindsey Collins acted as co-producer.

The original idea for WALL-E arose in 1992 at a now legendary meal attended by Pixar pioneers Stanton, John Lasseter, Pete Docter and the late, ingenious story inventor Joe Ranft. At the time, production of their first feature film, TOY STORY (1995), was just beginning and the troupe realized that this would not be their last film. On this fateful day they first discussed their ideas for DAS GROSSE KRABBELN, DIE MONSTER AG and FINDET NEMO. But the brainstorming also sprouted a tiny idea about a futuristic robot called WALL-E. Stanton recalls being drawn to the idea that a machine of all things was the most human thing left behind in the universe. He was also fascinated by the idea that everyday objects can only trigger great emotions by virtue of their design.

Renowned sound designer and four-time Oscar® winner Ben Burtt (ET - THE ALIEN, INDIANA JONES AND THE LAST CRUSADE) created the expressive voices of the animated protagonists in WALL-E - the man who created the legendary STAR WARS robot R2-D2 missed the "voice". Burtt, who is considered a top sound expert thanks to thirty years of experience in the film business, was involved in the project from the start. For WALL-E he created a very unique, visionary soundscape, from the noises of the different characters to the entire set of the film.

Burtt explains: “Working on 'Star Wars' I had a lot of experience with the sounds of robots and aliens, but WALL-E went above and beyond: I didn't have to create so many sounds for any other film. It was particularly important that the voices of the characters would not appear human to the audience. Nevertheless, the audience should identify with the warm and heartfelt characters as if they were real people. Most importantly, the voices didn't sound like machines with no personality whatsoever, or worse, like an actor behind a curtain mimicking a robot. It was crazy to get that balance; to create a sound that sounded like a machine and at the same time radiated the warmth and intelligence - or as I would say: the soul - of a human being. "

As always with a Pixar film, the animation team did extensive research at the beginning of WALL-E. The animators watched gigantic trash compactors and other machines at work, studied real robots up close in the studio, and watched many classics - from silent films to sci-fi films - to gain deeper insights into cinematographic expression. True to the Pixar motto of sticking to reality as much as possible, the animators designed the robots according to their special functions. This meant that each of them was only allowed to move as restricted as possible, as their design allowed, but should still deliver a personal performance. Alan Barillaro and Steve Hunter were supervising animators for the film, while Angus MacLane directed the animation.

Production designer Ralph Eggleston, whose credits also include THE INCREDIBLES ("The Incredibles", 2005), FINDET NEMO ("Finding Nemo", 2003) and TOY STORY (1999), used NASA drawings to create the look of the film Inspired by the 1960s and 1970s, and beyond, from original concept art of Disneylands Tomorrowland by Disney Imagineers. He recalls: “With the look of the film, we didn't want to show what the future will be like, but how it could be, which is also much more interesting. That should convey the design of the film. We wanted to shape the characters and their world in such a way that the audience really believed what they were seeing. The characters and their world should appear absolutely real, not look realistic, but be real in the sense of believable. "

Much of this credibility came from the way the film was photographed. Jeremy Lasky, Director of Photography for Camera, explains: “The whole look of WALL-E is different from anything that has ever been in animation. We digested some of the essential sci-fi films of the 1960s and 1970s to get the look and feel of our film just that. We further developed our camera and lighting technology so that WALL-E looks as if everything that happens has actually been filmed. We used widescreen format and a very shallow depth of field to give the picture a rich fullness. You'll notice fuzzy backgrounds and some settings that look almost like watercolor compositions. We also used a variety of handheld and steady cam settings, especially in space, to convince viewers that they were watching a robot moving through a real world. One of the biggest innovations in this film for us at Pixar was that for the first time it was possible to visualize the lighting design before we shot, so that we had a better idea of ​​what an image would look like in the finished film. There used to be no light information at such an early stage. ”Danielle Feinberg acted as Director of Photography for Lighting.

The original score for WALL-E comes from Thomas Newman, who was nominated eight times for an Oscar® and who worked with Stanton on FINDET NEMO ("Finding Nemo", 2003). Rock legend Peter Gabriel wrote and sang a song especially for WALL-E.


WALL-E is a rousing comedy about a lovable little robot. For hundreds of lonely years, WALL-E has done what it was made for: sorting garbage and pressing it into small cubes. When he meets the breathtaking robot lady EVE one day, he discovers a whole new meaning in life (apart from collecting odds and ends). EVE, on the other hand, realizes that WALL-E stumbled upon the solution of how to save the earth by accident. She is called back to her home, up in space, to report. Because the people on board the luxury spaceship Axiom eagerly await the news that it is safe to return home. Meanwhile, WALL-E follows his beloved and sets off one of the most incredible romantic comedies the screen has ever seen.


WALL-E ('Waste Allocation Load Lifter Earth-Class', in English: Garbage sorter-load lifter, series: Earth) is the last robot on earth, programmed to clean up everything, nicely pressed into one waste cube after the other . But over the past 700 years a minor dysfunction has developed: an independent personality. The little robot is very new and inquisitive - and just a little bit lonely. WALL-E was part of the clean-up force that the 'Buy n Large Corporation' sent thousands to earth to clean up while people go on a luxury space cruise. All alone, apart from his cockroach friend Hal, WALL-E carefully presses his garbage cubes every day and discovers many artifacts in the process. In fact, over time, WALL-E has amassed a treasure trove of knick-knacks that he keeps in his home, in a truck, and which, among other things, consists of a Rubik's Cube®, a light bulb and a spoon (half fork, half spoon). However, WALL-E, in which there is a little romantic, dreams that one day he will meet someone and that there must be more than this monotonous job.

His dream finally takes him far away on an adventure that exceeds his wildest expectations.

EVE ('Extra-terrestrial Vegetation Evaluator', in German: Extraterrestrial Vegetation Explorer) is a smooth, shiny, ultra-modern investigation droid. It's fast, it can fly, and it's equipped with a laser cannon. EVE, also called 'Probe One' by the captain of the Axiom, is part of an armada of identical robots that were sent to Earth on a secret scanning mission. EVE's mission is classified and she is determined to carry out her mission successfully. She hardly takes any notice of her new admirer WALL-E. It is only when she takes a frustrated break one day because she cannot find what she is looking for that she gets to know this strange little guy better. Together they go on a breathtaking journey ...

M-O ('Microbe-Obliterator', in English: Microbe Destroyer) is a cleaning robot, programmed to clean everything that comes on board the Axiom and looks like dirty foreign bodies or foreign debris. M-O darts through the Axiom on his rollerball, cleaning up any filthy objects he can find. When WALL-E appears on the spaceship, M-O goes crazy: he has never seen such a dirty robot. A fast cat-and-mouse game begins, because M-O has made it its business to scrub off WALL-Es's decades-old layer of dirt. Although M-O is simply the plague for WALL-E and he is constantly fleeing from him, they eventually become friends and M-O becomes WALL-E's loyal friend.

COMMANDER is the current captain of the Axiom, the huge luxury mothership on which thousands of homeless people live. Like WALL-E, he's caught up in his monotonous routine. He wants nothing more than a change from the tiring cycle of his so-called life. His dull task is simply to check the status of the aerial vehicle and to check against it, together with Otto, the autopilot. When the commander is informed that one of the investigating droids has made a much-anticipated discovery, he develops unimagined leadership skills that he never knew were inside him. His plan is to set humanity on a new course.

OTTO is the autopilot of the spaceship Axiom, and has been for 700 years. Carefully programmed and shaped like a steering wheel, it behaves in a cool, mechanical and apparently dutiful way towards the captain. What nobody from the crew of the Axiom knows: OTTO's programming contains a hidden mission, and the autopilot is determined to carry out this secret instruction ruthlessly and at all costs, no matter what the consequences for the residents of the Axiom.

DISCONNECTED BOTS are among the countless robots in the Axiom that take on every imaginable function to make their luxury life as comfortable as possible for the passengers of the spaceship. Since machines are not infallible even in hundreds of years, the robots end up in the repair department with malfunctions and are marked with a red mark. WALL-E makes friends with the discarded bots, which include, for example, a beautification robot that makes its customers uglier, a vacuum cleaner that spits out the dirt again, and an umbrella robot that opens up at the most inopportune moments. and goes. Together with WALL-E, the outcasts form a community that 'welds together' to turn the fate of the Axiom for the better.

GO-4 is the Axiom's bosun who shares a secret with the autopilot. The bustling, pneumatic capsule with a warning lamp as a head is dutiful to the point of malfunction.


ANDREW STANTON - Director / Screenplay

Andrew Stanton is one of the driving creative forces at Pixar Animation Studios, and has been since 1990. At that time, he joined the small but excellent elite group of computer animation pioneers as the second animator and ninth employee. As Vice-Head of the Creative Department, he is currently overseeing the development of all theatrical and short films in the studio.

Stanton made his debut as a director with the record-breaking FINDET NEMO ("Finding Nemo", 2003), which was based on an original story by him and for which he was also responsible as a co-author. The film earned him two Academy Award® nominations in the categories of “Best Original Screenplay” and “Best Animated Film”, and was finally awarded the Oscar® for “Best Animated Feature Film” in 2003 - Pixar's first feature-length film Animation studios at all.

Andrew Stanton was one of four writers who received an Oscar® nomination in 1996 for work on the TOY STORY screenplay. After that he was involved as a writer on every other Pixar movie - THE GREAT KRABBELN ("A Bug's Life", 1998), TOY STORY 2 (1999), THE MONSTER AG ("Monsters, Inc.", 2001) and finally FINDING NEMO . He was also the co-director of DAS GROSSE KRABBELN, executive producer of the Oscar® nominated hit DIE MONSTER AG and the Academy Award® winner RATATOUILLE (2007).

Stanton was born in Rockport, Massachusetts and received his Bachelor of Fine Arts degree in Character Animation from the California Institute of the Arts (Cal Arts), where he already completed two student films. He started his professional career in Los Angeles in the 1980s, working as an animator for Bill Kroyer's studio Kroyer Films and writing for Ralph Bakshi's production "Mighty Mouse, The New Adventures" (1987).

JIM MORRIS - production

JIM MORRIS joined Pixar Animation Studios in 2005. In his role as Executive Vice President of Production, he is responsible for the production of Pixar's feature films, short films, DVD content and amusement park activities. He also oversees various production departments at Pixar, including the areas for story, artwork, editing, animation, shadow design, lighting design and technical management.

Before joining Pixar, Morris held a number of key positions in a wide variety of areas at Lucasfilm Ltd. He was the head of Lucas Digital Ltd. and oversaw its two divisions, Industrial Light & Magic (ILM) and Skywalker Sound. For more than ten years, Morris managed the more than 1400 employed artists and technicians, making it the largest visual effects company in the entertainment industry, as ILM's General Manager.

During his tenure, ILM created the groundbreaking Academy-Awards®-winning visual effects for JURASSIC PARK (1993), DER TOD IS HER GUT ("Death Becomes Her", 1992) and FORREST GUMP (1994). Other projects under his leadership include MISSION: IMPOSSIBLE (1996), TWISTER (1996), THE SOLDIER JAMES RYAN ("Saving Private Ryan", 1999), STAR WARS: EPISODE I and II (1999 and 2002), THE STORM (" The Perfect Storm ", 2000), PEARL HARBOR (2001), MINORITY REPORT (2002), FLUCH DER KARIBIK (" Pirates of the Caribbean ", 2003), MASTER & COMMANDER - TO THE END OF THE WORLD (" Master and Commander ", 2003) and three of the HARRY POTTER films.

Morris joined ILM in 1987 as a visual effects producer for films and commercials. After being promoted to production manager at ILM, he eventually oversaw all of the company's productions. His production credits include: ABYSS - ABYSS OF DEATH ("The Abyss", 1989), which was awarded an Oscar® in the category "Best Achievement in Visual Effects", and ALWAYS - THE FIRE ANGEL OF MONTANA ("Always", 1989).

Before joining ILM, Morris worked as an executive producer at Arnold & Associates, producing national commercials for high-profile clients such as Atari and Chevron. Prior to that, he was Executive Producer at One Pass, where he was in charge of commercial film production. Morris also worked for the production departments of J. Walter Thompson and Foote, Cone & Belding in San Francisco. In addition, Morris worked as a producer and director for the PBS-affiliated channel WCNY-TV. He began his entertainment career as a cameraman and editor for NBC-affiliated WSYR-TV.

For his achievements, Morris has received both the Producers Guild of America Digital 50 Award and the Visual Effects Society Board of Directors Award. He currently holds the chief post of the San Francisco Film Commission. He earned a bachelor's degree in film studies and a master's degree in television and radio studies from the Newhouse School of the University of Syracuse.

LINDSEY COLLINS - co-production

LINDSEY COLLINS has worked for Pixar Animation Studios in a wide variety of functions since 1997. Her credits include DAS GROSSE KRABBELN (“A Bug’s Life”, 1998), TOY STORY 2 (1999), FINDET NEMO (“Finding Nemo”, 2003) and RATATOUILLE (2007). She also voiced the character Mia in the original version of Pixar's CARS (2006). Prior to joining Pixar, Collins spent three years at Disney's animation department, heading the creative teams for the films POCAHONTAS (1995), THE HUNCHBACK OF NOTRE DAME (1996) and HERCULES (1997). She holds a degree in Diplomacy and World Affairs from Occidental College, Los Angeles.


THOMAS NEWMAN, eight-time Oscar® nominated film composer, created the impressive score for the new Pixar film WALL-E with his incredible musical talent, flair and style. The distinguished musician has composed the soundtrack for almost 60 films in almost 25 years and received a Grammy® for AMERICAN BEAUTY (1999) and the TV series "Six Feet Under - Always dies", as well as an Emmy for the latter.

He received his Oscar® nominations for the films THE GOOD GERMAN (2006), LEMONY SNICKET - RÄTSELHAFTE EVENTISSE ("Lemony Snicket's A Series of Unfortunate Events", 2004), FINDET NEMO ("Finding Nemo", 2003), ROAD TO PERDITION (2002), AMERICAN BEAUTY (1999), HEROES UNLEASHED ("Unstrung Heroes", 1995), THE CONVINCED ("The Shawshank Redemption", 1994) and BETTY AND HER SISTERS ("Little Women", 1994).

Thomas Newman is the son of legendary 20th Century Fox musical director Alfred Newman and the cousin of famous songwriter Randy Newman, who also regularly composes for Pixar.

Thomas Newman often meets with a small ensemble to improvise, from which new ideas or even raw materials emerge, which Thomas later samples and uses directly in his scores.

His other great film compositions include: RECKLESS - YOUNG AND REVERLESS (“Reckless”, 1984), THE SCENT OF WOMEN (“Scent of a Woman”, 1992), THE GREEN MILE (1999) and ERIN BROCKOVICH (2000).

His TV credits include the theme songs from the hit series "Boston Public" and "Six Feet Under - Always Dying".

• The trailer for the film