In 2004, Stanton should have been on vacation after his long production on ; instead, under the radar, he developed the first twenty minutes of the picture with just a few storyboard artists and an editor on his team.
Finally, he presented his developmental work to Pixar’s foremost executives, John Lasseter and Steve Jobs, who greenlit Stanton’s concept.
Regardless of these lofty subtexts, also remains unique for being an almost silent, mostly dialogue-less, largely pantomimed film.
From its themes to its execution, Stanton and his team of animators design a resounding work of commercial art.
He pondered how to establish the robot’s situation with elegant animation, emphasizing physical behavior over words.
Fortunately, ’s massive performance at the worldwide box-office afforded Stanton leverage to explore his ideas with Pixar and the distributors at Disney.Access to society journal content varies across our titles.If you have access to a journal via a society or association membership, please browse to your society journal, select an article to view, and follow the instructions in this box.But an entire film about a robot was unconventional, even for Pixar, so the concept was stored away at the time, considered too risky for a studio that had not yet debuted its first computer-animated feature.Not until long after Pixar had established itself would the writer-director return to the idea of an isolated robot left on Earth.The first moments of the screenplay evoke as much: “Stars. Stanton’s other major influence was expanding upon the look of Luxo Jr., the bouncing lamp who appears on Pixar’s animated logo.The upbeat show tune, Put On Your Sunday Clothes, plays. But, rather than imbue WALL•E with easily recognizable, personified features, Stanton sought to create a functional robot first, and then work within the design’s limitations to project human qualities.Rather than write in WALL•E’s beeps and tones, Stanton wrote dialogue for what each of those beeps meant to convey. Stanton implemented an expressive character design, but when early images of WALL•E first appeared, detractors noted similarities between the film’s titular robot and Number 5 from (1982).Legendary sound designer Ben Burtt, responsible for R2D2’s sounds and other countless iconic noises from (1979) as a model for how to encapsulate visually complicated, thematically dense, and overall loaded scenes to minimalist, almost poetic effect. However, Stanton insisted any inspiration from those films remains “unconscious”, and the true inspiration for WALL•E’s look comes from binoculars: “You don’t need a mouth, you don’t need a nose, you get a whole personality just from [them].” The adage about eyes being the window to the soul comes to mind.After rocking himself to sleep, a day in the life of WALL•E has come to an end, but the solitude and loneliness of this evident dreamer are enough to evoke tears., Pixar Animation Studios’ ninth feature, and their very best, channels an incredible wellspring of emotion from an unlikely story about the last robot on Earth, filling us with warmth, empathy, and the desire to engage in our world.