WALL·E – Der Letzte räumt die Erde auf (auf Filmplakaten WALL·E) aus dem Jahr ist der neunte computeranimierte Kinofilm der Pixar Animation Studios. 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. Das Studio engagierte Thomas Newman, der schon für über achtzig Filme die Musik komponierte hatte, unter anderem auch für Pixars «Finding Nemo».
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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.
Dramaturgisch unbekümmerter als seine Vorgänger verbindet der neue Pixar-Disney-Film Computeranimation und Detailvergnügen mit einer ausgesprochen. Begleite Wall·E auf eine rasante und spannenden Reise ins Weltall. Dieser außergewöhnliche Computer-Animationsfilm erzählt die Geschichte von einem süßen. Das Studio engagierte Thomas Newman, der schon für über achtzig Filme die Musik komponierte hatte, unter anderem auch für Pixars «Finding Nemo».
Walle Film - Bilder zur EpisodeJim Reardon. Tatsächlich sind aber gerade die ersten 30 Minuten bahnbrechend, die ja in der Qualitätsdebatte besonders polarisierend sind. This wiki. Retrieved July 21, Retrieved Rtl Live Stream Kostenlos Ohne Anmeldung 28, This is right up there with one Futurama Filme Stream the greatest Gremlins 2 films released. During writing, Der Grüffelo Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from Der Schneekönig story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage. WALL-E went undeveloped during the s partly because Stanton and Pixar were not confident Walle Film yet to have a feature-length film with a main character that behaved Modern Family Lily Luxo Jr. National Academy of Recording Arts and Sciences. What to Stream on Prime Video. Muren spent several months with Pixar, while Deakins hosted one talk and was requested to stay on for another two weeks.
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Rate This. In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.
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Archived from the original on October 26, Toy Story was nearing 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? Having struggled for many years with making the characters in Toy Story appealing, Stanton found his simple Robinson Crusoe -esque idea of a lonely robot on a deserted planet very strong.
Stanton made WALL-E a waste collector as the idea was instantly understandable and because it was a low-status menial job that made him sympathetic.
Stanton also liked the imagery of stacked cubes of garbage. He did not find the idea dark because having a planet covered in heavy loads of rubbish was for him a childish imagining of disaster.
Stanton and Pete 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.
Stanton came up with the idea of WALL-E finding a plant because his life as the sole inhabitant of a deserted world reminded Stanton of a plant growing among pavements.
Before they turned their attention to other projects, Stanton and Lasseter thought about having WALL-E fall in love, as it was the necessary progression away from loneliness.
Stanton formatted his script in a manner reminiscent of Dan O'Bannon's Alien. 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. In late , Stanton and a few others created a story reel of the first twenty minutes of the film.
Lasseter and Steve Jobs were impressed and officially began development, though Jobs stated he did not like the title, originally spelt " 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.
Therefore, this was the inspiration of the humans degenerating into the alien Gels, and their ancestry would have been revealed in a Planet of the Apes -style ending.
The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.
Captain's Log: The Evolution of Humans , DVD featurette, Walt Disney Studios Home Entertainment The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and the Axiom curled up into a ball when returning to Earth in this incarnation of the story.
Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up", wanting WALL-E and EVE's relationship to inspire humanity because he felt very few films explore how utopian societies come to exist.
The process of depicting the descendants of humanity as the way they appear in the movie was very slow.
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 a 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 been unempathetic.
One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside-down, only to fix it before he challenges Auto.
In the finished film, he merely wears it casually atop his head, tightening it when he assumes real 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.
Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end.
Jim Capobianco, director of the 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.
Production designer Ralph Eggleston wanted the lighting of the first act on Earth to be romantic, while the second act on the Axiom to be cold and sterile.
During the third act, the romantic lighting is slowly introduced into the Axiom environment. Pixar studied Chernobyl and the city of Sofia to create the ruined world; art director Anthony Christov was from Bulgaria and recalled Sofia used to have problems storing its garbage.
The overexposed light makes the location look vaster. Because of the haziness, the cubes making up the towers of garbage had to be very 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. It was while rewatching some of his favourite science fiction films he realized Pixar's films 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.
The first lighting test consisted of building a three-dimensional replica of WALL-E, filming it with a 70 mm camera, and then trying to replicate that on the computer.
Stanton cited the shallow lens work of Gus Van Sant's films as an influence, as it created intimacy in each close-up.
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 studied s NASA paintings and the original concept art for Tomorrowland for the Axiom , to reflect that era's sense of optimism.
Stanton remarked "We are all probably very similar in our backgrounds here [at Pixar] in that we all miss the Tomorrowland that was promised us from the heyday of Disneyland," and wanted a "jetpack" feel.
Pixar also studied the Disney Cruise Line and visited Las Vegas, which was helpful in understanding artificial lighting.
Eggleston based his Axiom designs on the futuristic architecture of Santiago Calatrava. Eggleston divided the inside of the ship into three sections; the rear's economy class has a basic grey 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 wooden quarters and the sleek dark bridge.
In keeping with the artificial Axiom , camera movements were modelled after those of the Steadicam. The use of live action was a stepping stone for Pixar , as Stanton was planning to make John Carter of Mars his next project.
Storyboarder Derek Thompson noted introducing live action meant they had to make the rest of the film look even more realistic. Eggleston added that if the historical humans had been animated and slightly caricatured, then the audience would not have recognized how serious their devolution was.
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.
Stanton explained there are two types of robots in cinema: "human[s] with metal skin", like the Tin Man, or "machine[s] with function" like Luxo and R2.
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! The animators visited recycling stations to study machinery, and also met robot designers, visited NASA's Jet Propulsion Laboratory to study robots, watched a recording of a Mars rover, and borrowed a bomb detecting robot from the San Francisco Police Department.
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.
The director was reminded of Buster Keaton and decided the robot would not need a nose or mouth. Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality.
Pixar's studies of trash compactors during their visits to recycling stations inspired his body. His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.
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.