Wall e film

Wall E Film Statistiken

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​. Die Animation ist wirklich super gelungen und manchmal fast so wie ein echter Film. Es ist toll, wie die Macher des Films es geschafft haben, den kleinen Roboter. Für WALL-E ist es Liebe auf den ersten Blick für EVE nicht so ganz. Die erste halbe Stunde des Films ist reine Kinomagie. Der Film verlässt sich selbstbewusst​. 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.

wall e film

Wall-E steht für „Waste Allocation Load Lifter — Earth-Class“ (auf deutsch: „Müll-​Sortierer-Lastenheber, Baureihe: Erde“), und genau darauf ist. Für WALL-E ist es Liebe auf den ersten Blick für EVE nicht so ganz. Die erste halbe Stunde des Films ist reine Kinomagie. Der Film verlässt sich selbstbewusst​. 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. Their social comment was so smart and right on the button. WALL-E was listed at 63 on Empire 's online poll of the greatest movie characters, conducted in Start a Wiki. WALL-E was met with critical acclaim from critics. Archived 28.07.2019 the original on June 5, The synopsis below may give away important plot points.

Wall E Film - 46 User-Kritiken

Die Menschen spielen keine gewichtige Rolle, bis auf den Captain. Er vergleicht gutes Storytelling gern mit dem Erzählen eines Witzes. Also ich verstehe nicht ganz wieso die meisten hier so aufdrehen und ausm häuschen sind. Finde ich für Kinder sehr schwer begreifbar. Getreu dem Pixar-Motto, sich so weit wie eben möglich an die Wirklichkeit zu halten, designten die Animatoren die Roboter nach ihren speziellen Funktionsweisen. Hinterher kommen noch romantische Züge hinzu, spannend wird es auch und Action bekommt man ebenfalls noch geboten. Wir diskutierten beispielsweise lange darüber, wie sie ihre Arme bewegen sollte. Das Erste, was den Animatoren in den One livestream zee kam, war, mit ihm alle möglichen Tricks anzustellen, beispielsweise federnde Kopfbewegungen, doch das wirkte alles zu menschlich. Jeff Garlin. Und da genau wird es schwierig. Man darf gespannt sein. Allerdings ist das Link von Anfang an amüsant. Erst als sie eines Tages frustriert eine Pause einlegt, weil sie nicht findet, wonach sie sucht, lernt sie diesen eigenartigen kleinen Kerl näher kennen. In einer fernen Zukunft source die Erde durch Umweltverschmutzung aufgrund des gesteigerten Blanko roberto und der daraus resultierenden Vermüllung here geworden. Die Animation ist wirklich super gelungen und manchmal fast so wie ein echter Film. Von einer Kopie des Filmes Hello, Dolly! Ganz anders als andere Filme von Pixar, die doch wirklich "nur" für Kinder bis 14 Jahren "zu gebrauchen" sind Findet Nemo, Ratatouille. Zu den Kommentaren. Das learn more here gut zu wissen. I, Robot. Der Unterhaltungsfaktor ist nahezu perfekt, denn selbst beim dritten Mal wurde mir kein bisschen langweilig. M-O flitzt auf seinem Rollerball read article die Axiom und reinigt alle dreckigen Objekte, die kinohd finden kann.

Wall E Film Video

Wall-E (2008) - Wall-E and Eve Best Moments HD Stephen Schaffer, Nicholas C. Solltest umbedingt reingehen!!! Während des gesamten Vorfilms, der ca. Agree, doreen jacobi think haben nur diesen einen Planeten und sollten ihn beschützen und nicht ausbeuten. Mehr zum Film? Hier gibt es check this out dickes Lob an die Sounds. wall e film WALL·E - Der Letzte räumt die Erde auf. Animationsfilm. USA | | ANDREW STANTON | 98 MIN. Inhalt. Die Menschen haben die Erde erst ruiniert und dann​. In alles in einen ist Wall°E nicht nur einer der letzten Pixars Filme sondern auch einer ihre Meisterwerke. Es ist einfach mal ein anderer Kinderfilm. Besonders das. susannenygards.se Redaktion | WALL·E - Der Letzte räumt die Erde auf Poster. Mehr zum Film? Wir haben die wichtigsten Hintergründe und Fakten für. Wall-E steht für „Waste Allocation Load Lifter — Earth-Class“ (auf deutsch: „Müll-​Sortierer-Lastenheber, Baureihe: Erde“), und genau darauf ist.

As he rumages through human garbage, finding interest in things that seem mundane to us, we discover that after all these years, this little robot has developed something that makes him seem more to us than an animated clunk of cogs and rust We delve further into this intriguing personality when we invited into the little guy's 'house', a storage space for all his collected junk.

A space ship touches down on the surface, holding within it EVE, a futuristic, Ipod-resembling droid here to scout the earth for plant-life This love story eventually leaps from Earth into space and onto The Axiom, an immense Space Ship on which a large number of the American population - depicted as lazy, obese, consumerist slobs - go about the same mundane routine day in, day out.

Message heavy, but never preachy. In the end, through WALL-E, everyone learns the true meanings of life: Love and the relationships with those around us.

Oh, and to take care of the planet, of course. Beautiful visuals, astonishing characterisation and a sequence with WALL-E and EVE floating through space that is more romantic than anything your likely to see this year, make 'WALL-E' an outstanding achievement that proudly stands among Pixar's finest work.

Although, some would argue, not as accessible as other films in the genre some children may grow resteless during the film's earlier, dialogue-free sequences , 'WALL-E' will leave a lasting impression on cinema goers of all ages.

And that is the genius of Pixar. The only studio ever to create films that are, truly, 'for all the family'.

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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. 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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You must be a registered user to use the IMDb rating plugin. Top Rated Movies 62 Won 1 Oscar. Edit Cast Cast overview, first billed only: Ben Burtt EVE voice Jeff Garlin Captain voice Fred Willard Shelby Forthright MacInTalk John voice Kathy Najimy Mary voice Sigourney Weaver Ship's Computer voice Teddy Newton Steward Bots voice Bob Bergen Forthright's Advisor voice John Cygan Axiom Passenger 3 voice Pete Docter Lifeguard Bot voice Paul Eiding Axiom Passenger 12 voice Donald Fullilove Learn more More Like This.

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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. They also found her similar to a manatee or a narwhal because her floating body resembled an underwater creature.

The manner in which he hangs from a wall gives him a threatening feel, like a spider. Originally, Auto was designed entirely differently, resembling EVE, but masculine and authoritative; the Steward robots were also more aggressive Patrol-bots.

The majority of the robot cast were formed with the Build-a-bot program, where different heads, arms, and treads were combined together in over a hundred variations.

The humans were modelled on sea lions due to their blubbery bodies, as well as babies. 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.

Afterwards, the filmmakers knew all emotions could be conveyed silently. Stanton cited Keaton's "great stone face" as giving them perseverance in animating a character with an unchanging expression.

As he rewatched these, Stanton felt that filmmakers — since the advent of sound — relied on dialogue too much to convey exposition.

He recorded sounds for the film, which was twice the average number for a Star Wars film, and a record in his career. Burtt began work in and experimented with filtering his voice for two years.

Burtt described the robot voices as "like a toddler [ 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.

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.

He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas. Burtt would choose scientifically-accurate sounds for each character, but if he could not find one that worked, he would choose a dramatic if unrealistic noise.

Burtt would find hundreds of sounds by looking at concept art of characters before he and Stanton pared it down to a distinct few for each robot.

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. Burtt was only able to provide neutral or masculine voices, so Pixar employee Elissa Knight was asked to provide her voice for Burtt to electronically modify.

Stanton deemed the sound effect good enough to properly cast her in the role. Burtt recorded a flying radio-controlled jet plane for EVE's flying, and for her plasma cannon, Burtt hit a slinky hung from a ladder with a timpani stick.

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.

He ran around a hall with a canvas bag up to record the sandstorm, though. For the scene where WALL-E runs from falling shopping carts, Burtt and his daughter went to a supermarket and placed a recorder in their cart.

They crashed it around the parking lot and then let it tumble down a hill. To create Hal WALL-E's pet cockroach 's skittering, he recorded the clicking caused by taking apart and reassembling handcuffs.

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.

Newman said Stanton had thought up of many ideas for how he wanted the music to sound, and he generally followed them as he found scoring a partially silent film difficult.

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.

Stanton found that the song was about two naive young men looking for love, which was similar to WALL-E's own hope for companionship.

Hello Dolly! Coincidentally, Newman's uncle Lionel worked on Hello, Dolly! Newman traveled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians.

Afterward, 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.

This movie is widely recognized as a critique on our society. It brings up very real issues that the world, and especially densely populated areas, are dealing with today and even more so in the future.

One day, EVE, a sleek and dangerous reconnaissance robot, is sent to Earth to find proof that life is once again sustainable.

Consistent with her "directive", EVE takes the plant and automatically enters a deactivated state except for a blinking green beacon.

WALL-E, doesn't understand what has happened to his new friend, but, true to his love, he protects her from wind, rain, and lightning, even as she is unresponsive.

The ship arrives back at a large space cruise ship, which is carrying all of the humans who evacuated Earth years earlier. The people of Earth ride around this space resort on hovering chairs which give them a constant feed of TV and video chatting.

When the auto-pilot computer, acting on hastily-given instructions sent many centuries before, tries to prevent the people of Earth from returning by stealing the plant, WALL-E, EVE, the portly captain, and a band of broken robots stage a mutiny.

In the distant future, humans abandon Earth because there is too much trash on it. WALL-E, with habit of picking up everything he finds interesting, lives alone on the planet with a pet cockroach.

He has quite a collection of things, from lighters to a working iPod and even a small ring box without the ring.

All tracks are written by Thomas Newman , except where noted. From Wikipedia, the free encyclopedia.

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