AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
WALL-E
Director: Andrew Stanton (Dir)
Release Date:   27 Jun 2008
Premiere Information:   Edinburgh Film Festival screening: 18 Jun 2008, Los Angeles opening: 27 Jun 2008
Production Date:   3 Jan 2007--5 Mar 2008
Duration (in mins):   97
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Cast:   Ben Burtt (WALL-E)  
    Elissa Knight (Eve)  
    Jeff Garlin (Captain)  
    Fred Willard (Shelby Forthright, BNL CEO)  
    Macintalk (Auto)  
    Ben Burtt (M-O)  
    John Ratzenberger (John)  
    Kathy Najimy (Mary)  
    Sigourney Weaver (Ship's computer)  
  Additional voices: Lori Alan    
    Bob Bergen    
    John Cygan    
    Pete Docter    
    Paul Eiding    
    Don Fullilove    
    Teresa Ganzel    
    Jess Harnell    
    Sherry Lynn    
    Mickie McGowan    
    Laraine Newman    
    Teddy Newton    
    Jeff Pidgeon    
    Jan Rabson    
    Lori Richardson    
    Andrew Stanton    
    Jim Ward    
    Colette Whitaker    

Summary: Eight hundred years in the future, a boxy little Waste Allocation Load Lifter, Earth-Class robot called WALL-E compacts trash and stacks it piles, as he was programmed to do seven hundred years ago by Buy n Large Corporation, the monopoly that governed the earth. According to old videoscreen billboards that continue to play their messages, the planet had amassed so much garbage that the corporation, nicknamed BNL, provided huge luxury spacecrafts to house the humans for five years, while robots were left behind to clean up. However, the humans never returned and all the robots except the dented, timeworn WALL-E, have since broken down. WALL-E, whose only companion is a cockroach, replaces his damaged parts from the defunct machines and dutifully carries out his task. Meanwhile, he has gained sentience and curiosity about detritus left by the former civilization, and has collected many fascinating objects, among them, bolts, toys, light bulbs, a fire extinguisher and a cigarette lighter, which he keeps in a compartment inside his body or stores in an old truck that serves as his home. Among his most treasured possessions is a videocassette of a film, showing people dancing together in solidarity, and a man and woman falling in love. He often watches the film, trying to emulate how the man spins his hat as he dances, and he clicks his two claws together thoughtfully when he watches the man and woman join hands. When he finds a living plant, he places it in an old shoe and tends it carefully. One day, a large spacecraft delivers a sleek, egg-shaped research probe called Extra-terrestrial Vegetation Evaluator or EVE. From a hiding place, WALL-E watches in awe as the probe soars gracefully, but trembles when he sees her shoot at any sound. Despite his trepidation, WALL-E is smitten and eventually introduces himself without prompting her to shoot him. When she asks about his “directive,” he demonstrates his job. When a violent dust storm disorients EVE, WALL-E takes her to his truck for safety. There, he shows her some of his treasures: bubble wrap, a light bulb, and the flame of the cigarette lighter, which they both watch in fascination. He plays his video and tries to emulate the handholding couple in love by reaching for her, but she jerks away. He also shows her his plant, but this causes her mood to instantly change. Lights flash inside her body, her trunk opens and sucks the plant inside, then she goes into standby mode. Confused, WALL-E takes her out into the sunlight to recharge and, in the following days, protects her from rain. He also takes her to see a sunset, although she does not respond. When the craft returns to collect EVE, WALL-E, desperate not to lose her, clings to the ship’s hull as it travels through space to rendezvous with BNL’s flagship Axiom , a robot-run starliner in which humans have been living for centuries. Forgetful of earth, the humans have suffered severe bone loss, due to microgravity and inactivity, and spend their time lounging on hovercrafts, drinking liquid food, communicating through video messaging screens and becoming unwittingly reliant on the many task-dedicated robots who serve them. Even the captain of the ship, the human pilot in a long line of officers, has little to do but send cheery video messages to the passengers, while the computerized autopilot robot, Auto, handles all tasks. Inside the Axiom , WALL-E follows behind as EVE is processed by other robots and his muddy tracks soon attract M-O, an obsessive little cleaning robot. When the plant inside EVE is detected, she is taken to the bridge and reactivated. The ship’s computer then shows the captain a centuries-old video-recording from former BNL CEO Shelby Forthright that recounts their exodus from earth and directs him to place the plant, an indication that earth is now livable, into the holo-detector. If the scans confirm the plant’s origin as earth, the ship will return the humans to re-colonize the planet. As Auto has surreptitiously removed the plant, when EVE is opened, the plant is missing and she is presumed to be defective. She is taken to the repair ward, where WALL-E watches as she undergoes diagnostics. Presuming that she is being harmed, WALL-E frees her, but inadvertently releases the Axiom 's malfunctioning robots. As the robots roam the halls, EVE and WALL-E are labelled "rogue robots" whose images are captured on videoscreens that are placed throughout the ship. Deciding that WALL-E should not remain on the ship, EVE leads him to an escape pod to send him back to earth. However, in the launch room, they spot Auto’s assistant, GO-4, placing the missing plant into a pod that is programmed to eject and self-destruct. When WALL-E enters the pod to rescue the plant, he is shot out into space. Horrified, EVE flies after him, and when he survives the explosion, they frolic in space. From inside the ship, John and Mary, two humans who have been watching EVE and WALL-E, accidentally stumble into each other and begin a conversation without video screens that blossoms into love. When WALL-E shows EVE that he saved the plant, she abandons him to perform her directive, taking the plant to the captain. Fascinated by what he is learning about the earth, the captain plays EVE’s built-in visual recording of her mission and discovers that the planet is still in turmoil. While watching the recording, EVE is touched to see how WALL-E took care of her. Although the captain orders the plant to be taken to the holo-detector, Auto obstinately refuses and eventually reveals to him a secret recording made by Forthright. Codenamed A113, the recording shows Forthright giving orders to keep the humans in space indefinitely, as the cleanup operation failed and the earth was deemed toxic. Believing that time has healed the toxic conditions, the captain vetoes Forthright’s command, but Auto is unwilling to accept new orders. He locks the captain into his quarters and, during a scuffle, electrocutes WALL-E and pitches him and EVE into the garbage chute. Huge robotic arms compact them with the trash, but EVE is able to free them. When the barely functioning WALL-E shows her the plant he again has rescued, she ignores her directive in order to save him. She frantically searches the trash for suitable replacement parts, but concludes his survival depends on returning home. When the trash doors open to eject the compacted trash, WALL-E and EVE are almost jettisoned, but M-O, following WALL-E’s trail of dirt, wedges between the garbage doors and gives them a handhold to keep them from being swept away. Back in the ship, the three robots and the malfunctioning robots who rally behind them fight with security robots sent by Auto. From his captivity, the captain makes a ship-wide announcement, ordering EVE to take the plant to the Lido deck holo-detector, but before EVE can insert the plant, it is knocked away from her. WALL-E jams himself in the holo-detector to keep it from closing, while the captain tricks Auto into meeting him in the bridge. As the captain engages Auto in manual combat, the ship tilts, sending the helpless passengers sliding across the deck. The videoscreens display the fight on the bridge, during which the captain struggles to his feet, walking, for the first time in his life, toward Auto and turns off his switch. After witnessing the captain’s victory, the humans and their robot compatriots band together to overcome the security robots, then pass the plant to EVE, who places it in the holo-detector. She frees the unconscious WALL-E as the ship goes into hyperdrive on a course toward earth. Upon landing, the captain introduces the humans to their new responsibility of restoring the earth. EVE and the reunited cockroach rush to repair the crushed WALL-E. Although replacing his parts restores WALL-E’s functionality, his memory and personality have been corrupted. Heartbroken, EVE takes his claws and sadly touches her head to his, inadvertently causing a spark that restores his memory. Upon regaining consciousness, WALL-E finds EVE’s hand in his. In the time that follows, humans, with the robots’ help, restore earth into a paradise. 

Production Company: Pixar Animation Studios (The Walt Disney Company)
  Walt Disney Pictures (The Walt Disney Company)
Distribution Company: Walt Disney Studios Motion Pictures (The Walt Disney Company)
Director: Andrew Stanton (Dir)
Producer: Jim Morris (Prod)
  Thomas Porter (Assoc prod)
  John Lasseter (Exec prod)
  Lindsey Collins (Co-prod)
  Gillian Libbert (Line prod, Live action)
Writer: Andrew Stanton (Scr)
  Jim Reardon (Scr)
  Andrew Stanton (Orig story)
  Pete Docter (Orig story)
Photography: Jeremy Lasky (Dir of photog cam)
  Danielle Feinberg (Dir of photog lighting)
  Martin Rosenberg (Dir of photog, Live action)
Art Direction: Ralph Eggleston (Prod des)
  Jason Deamer (Character art dir )
  Anthony Christov (Set art dir)
  Bert Berry (Shader art dir)
  Mark Cordell Holmes (Graphics art dir)
  Roger Deakins (Visual consultant)
  Dennis Muren (Visual consultant)
  Jim Reardon (Story supv)
  Sabine Koch (Story mgr)
  Kevin O'Brien (Story artist)
  Max Brace (Story artist)
  Derek Thompson (Story artist)
  Brian Fee (Story artist)
  Nathan Stanton (Story artist)
  Rob Gibbs (Story artist)
  Scott Morse (Story artist)
  Ronnie del Carmen (Story artist)
  Jeff Pidgeon (Story artist)
  Justin Wright (Story artist)
  Angus MacLane (Story artist)
  Alexander Woo (Story artist)
  Ted Mathot (Story artist)
  Peter Sohn (Story artist)
  James S. Baker (Story artist)
  Kyle Shockley (Story artist)
  Douglass Carney (Digital boarding & eff, Story)
  Chris O'Dowd (Digital boarding & eff, Story)
  Patrick Siemer (Addl digital boarding, Story)
  Maggie Weidner (Story prod asst)
  Gillian Libbert (Art mgr)
  Daniel Arriaga (Prod artist)
  Nelson "Rey" Bohol (Prod artist)
  Chia Han Jennifer Chang (Prod artist)
  Robin Cooper (Prod artist)
  Tony Fucile (Prod artist)
  Daniel Holland (Prod artist)
  Lori Klocek (Prod artist)
  Noah Klocek (Prod artist)
  Robert Kondo (Prod artist)
  Albert Lozano (Prod artist)
  Angus MacLane (Prod artist)
  Teddy Newton (Prod artist)
  Kristian Norelius (Prod artist)
  Jay Shuster (Prod artist)
  John Lee (Prod illus)
  Philip Metschan (Motion graphics des)
  Sandra Karpman (Motion graphics tech lead)
  Paul Topolos (Matte painter)
  Patrick James (Matte paint tech lead)
  Jerome Ranft (Sculptor)
  Craig Foster (Graphic artist)
  Catherine M. Kelly (Graphic artist)
  Ellen Moon Lee (Graphic artist)
  Becky Neiman (Graphic artist)
  Glenn Kim (Digital painter)
  Maria Lee (Digital painter)
  Ernesto Nemesio (Digital painter)
  Laura Phillips (Digital painter)
  Japeth Pieper (Digital painter)
  Bill Zahn (Digital painter)
  Chuck Waite (Graphics & paint tech artist)
  Jay Carina (Graphics & paint tech artist)
  Shaun Tan (Development artist)
  Bruce Zick (Development artist)
  Ricardo Delgado (Development artist)
  Geefwee Boedoe (Development artist)
  George Hull (Development artist)
  Trish Carney (Addl art management)
  Zoe Boxer (Art coord)
  Becky Neiman (Art coord)
  Lee Rasé (Art coord)
  Brian London (Art prod asst)
  Keith Stichweh (Shading artist, Sets)
  Josée Lajoie (Shot lighting artist)
Film Editor: Stephen Schaffer (Film ed)
  Noelle Page (Ed mgr)
  Colin Bohrer (Ed mgr)
  Axel Geddes (2d film ed)
  Jason Hudak (2d film ed)
  Nicholas C. Smith (2d film ed)
  Anthony J. Greenberg (1st asst ed)
  Kevin Rose-Williams (2d asst ed)
  Renée Steen (2d asst ed)
  Tessa Swigart (2d asst ed)
  Kevin Nolting (Addl editing)
  Jess Fulton (Ed prod asst)
  Stacey Hendrickson (Addl ed support)
  Walt Disney Studios Negative Cutting (Negative cutting, Live action)
Music: Thomas Newman (Orig score, comp & cond)
  Tommy Vicari (Rec & mixed by)
  Armin Steiner (Orch rec)
  Thomas Pasatieri (Orch)
  J. A. C. Redford (Orch)
  Bill Bernstein (Mus ed)
  Michael Zainer (Asst mus ed)
  Leslie Morris (Mus contractor)
  Julian Bratolyubov (Mus preparation)
  Larry Mah (Digital audio)
  Chris Montan (Exec mus prod)
  Tom MacDougall (Mus supv)
  Andrew Page (Mus prod mgr)
  Donna Cole-Brulé (Mus business affairs)
  Ashley Chafin (Mus prod coord)
  Jill Iverson (Mus prod asst)
  Siobhan Sullivan (Mus prod asst)
  Sony Pictures Scoring Stage (Mus rec & mixed at)
  Newman Scoring Stage-Twentieth Century Fox Studios (Mus rec & mixed at)
  The Village (Mus rec & mixed at)
  Paramount Pictures Scoring Stage M (Mus rec & mixed at)
Sound: Ben Burtt (Sd & character voice des)
  Vince Caro (Post prod orig dial mixer)
  Doc Kane (Post prod orig dial mixer)
  Bobby Johanson (Post prod addl dial rec)
  Ben Burtt (Post prod supv sd ed & mixer)
  Skywalker Sound, A Lucasfilm Ltd. Company (Post prod sd services)
  Matthew Wood (Supv sd ed)
  E. J. Holowicki (Addl sd des, Editorial)
  Tom Myers (Re-rec mixer)
  Michael Semanick (Re-rec mixer)
  Teresa Eckton (Sd eff ed)
  Dustin Cawood (Sd eff ed)
  Al Nelson (Sd eff ed)
  Steve Slanec (ADR ed)
  Kevin Sellers (Foley ed)
  Juan Peralta (Foley ed)
  Coya Elliott (Asst supv sd ed)
  Jana Vance (Foley artist)
  Dennie Thorpe (Foley artist)
  Frank Rinella (Foley mixer)
  Sean England (Foley rec)
  Tony Sereno (Mix tech)
  Jonathan Greber (Digital transfer)
  Christopher Barron (Digital transfer)
  John Countryman (Digital transfer)
Special Effects: Joshua Hollander (Mgr, Image mastering)
  Rod Bogart (Lead eng, Image mastering)
  Beth Sullivan (Admin mgr)
  Robin Young (Image mastering coord)
  Robert Tachoires (Media control mgr)
  Andra Smith (Media control transfer op, Image mastering)
  Glenn Kasprzycki (Media control transfer op, Image mastering)
  Jeff Whittle (Media control transfer op, Image mastering)
  Richard Pinkham (Media control transfer op, Image mastering)
  Jeff Wan (Cam op, Image mastering)
  Mark Dinicola (Cam op, Image mastering)
  John Hazelton (Projection, Image mastering)
  Timothy Kennelly (Projection, Image mastering)
  Dominic Glynn (Software eng, Image mastering)
  Drew TTV Rogge (Software eng, Image mastering)
  Hee Soo Lee (Software eng, Image mastering)
  Rick Sayre (Software eng, Image mastering)
  Jim Capobianco (End titles dir, Post prod)
  Sara Maher (End titles prod management, Post prod)
  Galyn Susman (End titles prod management, Post prod)
  Scott Morse (End titles des lead, Post prod)
  Susan Bradley (End titles title des, Post prod)
  Alexander Woo (End titles anim, Post prod)
  Bob Scott (End titles anim, Post prod)
  Kristophe Vergne (End titles anim, Post prod)
  John Lee (End titles background paint, Post prod)
  Willy Hwang (End titles 2d paint, Post prod)
  Chris O'Dowd (End titles after eff, Post prod)
  Catherine M. Kelly (End titles after eff, Post prod)
  Anne Pia (Mgr, Render pipeline group)
  Christopher C. Walker (Tech lead, Render pipeline group)
  Kate Cronin (Render pipeline group team)
  Josh Grant (Render pipeline group team)
  Don Schreiter (Render pipeline group team)
  Erick Tryzelaar (Render pipeline group team)
  Mike Wallace (Render pipeline group team)
  Adam Wood-Gaines (Render pipeline group team)
  F. Sebastian Grassia (Team lead, Prod engineering)
  Allan Poore (Team lead, Prod engineering)
  Bill Polson (Team lead, Prod engineering)
  Guido Quaroni (Team lead, Prod engineering)
  Sam Wijegunawardena (Team lead, Prod engineering)
  Jim Atkinson (Software development, Prod engineering)
  David Baraff (Software development, Prod engineering)
  Malcolm Blanchard (Software development, Prod engineering)
  Stas Bondarenko (Software development, Prod engineering)
  Juei Chang (Software development, Prod engineering)
  Bena Currin (Software development, Prod engineering)
  Gordon Cameron (Software development, Prod engineering)
  Adam Gabbert (Software development, Prod engineering)
  Thomas Hahn (Software development, Prod engineering)
  Jamie Hecker (Software development, Prod engineering)
  Geoffrey Irving (Software development, Prod engineering)
  Ben Jordan (Software development, Prod engineering)
  Ryan Kautzman (Software development, Prod engineering)
  Manuel Kraemer (Software development, Prod engineering)
  Daniel McCoy (Software development, Prod engineering)
  Gary Monheit (Software development, Prod engineering)
  Shawn Neely (Software development, Prod engineering)
  Michael K. O'Brien (Software development, Prod engineering)
  Brian M. Rosen (Software development, Prod engineering)
  Michael Shantzis (Software development, Prod engineering)
  Kiril Vidimce (Software development, Prod engineering)
  Christine Waggoner (Software development, Prod engineering)
  Beau Casey (Infrastructure, Prod engineering)
  June Foster (Infrastructure, Prod engineering)
  Rita Garcia (Infrastructure, Prod engineering)
  Susan Boylan Griffin (Infrastructure, Prod engineering)
  Björn Leffler (Infrastructure, Prod engineering)
  María Milagros Soto (Infrastructure, Prod engineering)
  Dan Weeks (Infrastructure, Prod engineering)
  Michael B. Johnson (Lead, Pre-prod engineering)
  Brendan Donohoe (Team, Pre-prod engineering)
  Ralph Hill (Team, Pre-prod engineering)
  Phred Lender (Team, Pre-prod engineering)
  Josh Minor (Team, Pre-prod engineering)
  Rudrajit Samanta (Team, Pre-prod engineering)
  Richard Hollander (Pixar visual eff supv, Live action)
  John Warren (Pixar digital prod supv, Live action)
  Patrick Tubach (Digital prod supv, Live action)
  Kerner Optical (Live action prod by)
  Christopher Hall (Live action prod)
  Orlando Orona (Live action prod)
  Barbara Kassel (Live action prod)
  Zoe Boxer (Live action prod)
  Steve Cardellini (Live action prod)
  Judy Feil (Live action prod)
  Janet Nielsen (Live action prod)
  Todd Kuhn (Live action prod)
  Nancy Servin (Live action prod)
  Fred Myers (Live action prod)
  Tom Cloutier (Live action prod)
  Gretchen Davis (Live action prod)
  Alice Tompkin (Live action prod)
  Don Henderson (Live action prod)
  Yvette Rivas (Live action prod)
  John Gazdik (Live action prod)
  Chris Shellenberger (Live action prod)
  Jennifer Tremont (Live action prod)
  Randy Jonsson (Live action prod)
  Bernie Demolski (Live action prod)
  Diane Harrell (Live action prod)
  Nelson Stoll (Live action prod)
  Christine Bloomingdale (Live action prod)
  Dana Bonilla (Live action prod)
  Scott Kinsey (Live action prod)
  Steve Collins (Live action prod)
  Jay Beverly (Live action prod)
  Brian Copenhagen (Live action prod)
  Dave Murphy (Live action prod)
  Blake Benham (Live action prod)
  Michael Meier (Live action prod)
  Buck O'Hare (Live action prod)
  Molly Welin (Live action prod)
  Frank Strzalkowski (Live action prod)
  John Duncan (Live action prod)
  Industrial Light & Magic, A Lucasfilm Ltd. Company (Live action visual eff)
  Ed Hirsch (Visual eff supv, Live action)
  Jeanie King (Visual eff prod, Live action)
  Patrick Tubach (Digital prod supv)
  Brian Cantwell (Layout supv, Live action)
  Greg Hyman (Visual eff ed, Live action)
  Michael Van Eps (Digital paint & roto supv, Live action)
  Jason Billington (Digital artist, Live action)
  Kai Chang (Digital artist, Live action)
  Lanny Cermak (Digital artist, Live action)
  Carlos Monzon (Digital artist, Live action)
  Stacy Bissell (Prod coord, Live action)
  C. J. Neff (Media operations, Live action)
  Intel (CPUs for final rendering)
  Pixar's RenderMan (Rendered with)
  Apple Inc. (Computer-generated voices courtesy of)
Production Misc: Kevin Reher (Casting)
  Natalie Lyon (Casting)
  Nancy Hayes Casting (Casting, Live action)
  Marla Dell Casting (Casting, Live action)
  Andrea Warren (Prod mgr)
  Nigel Hardwidge (Supv tech dir)
  Stacey Hendrickson (Scr supv)
  Kate Ranson-Walsh (Story coord)
  Marc Sondheimer (Prod finance lead)
  Kirsten Ames Staubli (Asst prod accountant)
  Christopher "Stu" Stewart (Asst prod accountant)
  Marguerite K. Enright (Asst to the dir)
  Daniel Combs (Asst to the prod)
  Tricia Andres (Prod office mgr)
  Juliet Pokorny (Addl prod management)
  Megan Miller (Prod office asst)
  Stephen Krug (Prod office asst)
  Max Sachar (Prod office asst)
  Paul Baker (Prod office asst)
  Victoria Jaschob (Addl prod support)
  Doug Nichols (Addl prod support)
  Esther Pearl (Addl prod support)
  David Willnerd (Addl prod support)
  Thomas Quintas (Addl prod support)
  Paul Cichocki (Post prod supv)
  Bill Kinder (Dir of ed & post prod)
  Cynthia Lusk (Post prod international mgr)
  Mary Van Escobar (Post prod international mgr)
  Domenic Allen (Post prod international tech lead)
  David H. Tanaka (Post prod international editorial)
  Susan Bradley (Post prod international art dir)
  Cynthia Slavens (Post prod supv, video)
  Eric Pearson (Post prod mgr)
  Noah Newman (Post prod coord)
  Katelin C. Holloway (Post prod management asst)
  Freesia Pearson (Post prod asst)
  Bella Cucina Catering (Catering)
  Michael Arndt (Pixar senior creative team)
  Brad Bird (Pixar senior creative team)
  Brenda Chapman (Pixar senior creative team)
  Pete Docter (Pixar senior creative team)
  John Lasseter (Pixar senior creative team)
  Bob Peterson (Pixar senior creative team)
  Gary Rydstrom (Pixar senior creative team)
  Lee Unkrich (Pixar senior creative team)
  Daniel Annereau (A/V engineering, Pixar studio team)
  Chris Collins (A/V engineering, Pixar studio team)
  Christopher Fehring (A/V engineering, Pixar studio team)
  Bob Frey (A/V engineering, Pixar studio team)
  Grant Gatzke (A/V engineering, Pixar studio team)
  Warren Latimer (A/V engineering, Pixar studio team)
  Edgar Quiñones (A/V engineering, Pixar studio team)
  M. T. Silvia (A/V engineering, Pixar studio team)
  Alex Stahl (A/V engineering, Pixar studio team)
  Kelli Townley (A/V engineering, Pixar studio team)
  Jason Watkins (A/V engineering, Pixar studio team)
  Alejandro Aguilar (Admin & application support, Pixar studio team)
  Tlaloc Alvarez (Admin & application support, Pixar studio team)
  Ricky Der (Admin & application support, Pixar studio team)
  Cassandra Falby (Admin & application support, Pixar studio team)
  Marty Lew (Admin & application support, Pixar studio team)
  Brittany Moore (Admin & application support, Pixar studio team)
  Heidi Parmelee (Admin & application support, Pixar studio team)
  Peter Plackowski (Admin & application support, Pixar studio team)
  May Pon (Admin & application support, Pixar studio team)
  Mary Ann Gallagher (Data Management Group, Pixar studio team)
  Mark Harrison (Data Management Group, Pixar studio team)
  Peter Nye (Data Management Group, Pixar studio team)
  Heidi Stettner (Data Management Group, Pixar studio team)
  Mike Sundy (Data Management Group, Pixar studio team)
  Neftali "El Magnifico" Alvarez (Desktop & infrastructure, Pixar studio team)
  Bryan Bird (Desktop & infrastructure, Pixar studio team)
  Johnoel Cuevas (Desktop & infrastructure, Pixar studio team)
  Lars R. Damerow (Desktop & infrastructure, Pixar studio team)
  James G. Dashe (Desktop & infrastructure, Pixar studio team)
  Ross Dickinson (Desktop & infrastructure, Pixar studio team)
  Miles Egan (Desktop & infrastructure, Pixar studio team)
  Edward Escueta (Desktop & infrastructure, Pixar studio team)
  Tyler Fazakerley (Desktop & infrastructure, Pixar studio team)
  Erik Forman (Desktop & infrastructure, Pixar studio team)
  Remy Galang (Desktop & infrastructure, Pixar studio team)
  Alisa Gilden (Desktop & infrastructure, Pixar studio team)
  Jonathan Hadden (Desktop & infrastructure, Pixar studio team)
  James Handelin (Desktop & infrastructure, Pixar studio team)
  Bethany Jane Hanson (Desktop & infrastructure, Pixar studio team)
  Warren Hays (Desktop & infrastructure, Pixar studio team)
  Jason Hendrix (Desktop & infrastructure, Pixar studio team)
  Dan Hoffman (Desktop & infrastructure, Pixar studio team)
  Ling Hsu (Desktop & infrastructure, Pixar studio team)
  Kenneth Huey (Desktop & infrastructure, Pixar studio team)
  Jason "Jayfish" Hull (Desktop & infrastructure, Pixar studio team)
  Jose Richard Ignacio (Desktop & infrastructure, Pixar studio team)
  Thomas Indermaur (Desktop & infrastructure, Pixar studio team)
  Peter Kalois (Desktop & infrastructure, Pixar studio team)
  John Kirkman (Desktop & infrastructure, Pixar studio team)
  Elise Knowles (Desktop & infrastructure, Pixar studio team)
  Cory Ander Knox (Desktop & infrastructure, Pixar studio team)
  Chris Lasell (Desktop & infrastructure, Pixar studio team)
  Matthew Muhili Lindahl (Desktop & infrastructure, Pixar studio team)
  Jeremiah Macias (Desktop & infrastructure, Pixar studio team)
  Bob Morgan (Desktop & infrastructure, Pixar studio team)
  Terry Lee Moseley (Desktop & infrastructure, Pixar studio team)
  Michael A. O'Brien (Desktop & infrastructure, Pixar studio team)
  Mark Pananganan (Desktop & infrastructure, Pixar studio team)
  Wil Phan (Desktop & infrastructure, Pixar studio team)
  A.U.B.I.E. (Desktop & infrastructure, Pixar studio team)
  Nelson Sette Siu (Desktop & infrastructure, Pixar studio team)
  David Sotnick (Desktop & infrastructure, Pixar studio team)
  Andy Thomas (Desktop & infrastructure, Pixar studio team)
  Rudy Jason Vucelich (Desktop & infrastructure, Pixar studio team)
  Peter Ward (Desktop & infrastructure, Pixar studio team)
  Jay Weiland (Desktop & infrastructure, Pixar studio team)
  Ian Westcott (Desktop & infrastructure, Pixar studio team)
  Robert Yumol (Desktop & infrastructure, Pixar studio team)
  Kelly Bonbright (Consumer products, Pixar studio team)
  Ben Butcher (Consumer products, Pixar studio team)
  Aidan Cleeland (Consumer products, Pixar studio team)
  Kat Chanover (Consumer products, Pixar studio team)
  T. Q. Jefferson (Consumer products, Pixar studio team)
  Emery Low (Consumer products, Pixar studio team)
  Jonathan Rodriquez (Consumer products, Pixar studio team)
  Christopher Schnabel (Consumer products, Pixar studio team)
  Donald Evans (Marketing, Pixar studio team)
  Leeann Alameda (Marketing, Pixar studio team)
  Steven Argula (Marketing, Pixar studio team)
  Ed Chen (Marketing, Pixar studio team)
  Deborah Coleman (Marketing, Pixar studio team)
  Andy Dreyfus (Marketing, Pixar studio team)
  Adam Gates (Marketing, Pixar studio team)
  Hilary Goss (Marketing, Pixar studio team)
  Cherie Hammond (Marketing, Pixar studio team)
  Erin Harrison (Marketing, Pixar studio team)
  Holly Lloyd (Marketing, Pixar studio team)
  Sean McGinn (Marketing, Pixar studio team)
  Desiree Mourad (Marketing, Pixar studio team)
  Shannon Nicosia (Marketing, Pixar studio team)
  Burt Peng (Marketing, Pixar studio team)
  Laurie Schrey (Marketing, Pixar studio team)
  Amanda Sorena (Marketing, Pixar studio team)
  Hasia Sroat (Marketing, Pixar studio team)
  Clayborn Welch (Marketing, Pixar studio team)
  Timothy Zohr (Marketing, Pixar studio team)
  Steve Bloom (DVD prod, Pixar studio team)
  Tim Fox (DVD prod, Pixar studio team)
  Tony Kaplan (DVD prod, Pixar studio team)
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  Susan T. Tatsuno (Prod resources, Pixar studio group)
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  Elizabeth Palmore (Human resources, Pixar studio team)
  Erica Perkins-Youman (Human resources, Pixar studio team)
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  Megan Albert (Admin & finance, Pixar studio team)
  Cassandra Anderson (Admin & finance, Pixar studio team)
  Nancy Garretson Case (Admin & finance, Pixar studio team)
  Rachel Ergas (Admin & finance, Pixar studio team)
  Heather Feng-Yanu (Admin & finance, Pixar studio team)
  Timothy Glass (Admin & finance, Pixar studio team)
  Marc S. Greenberg (Admin & finance, Pixar studio team)
  Kaitlin Hendrick (Admin & finance, Pixar studio team)
  Kentaro Hinoki (Admin & finance, Pixar studio team)
  Heather D. C. Jackson (Admin & finance, Pixar studio team)
  Mark Joseph (Admin & finance, Pixar studio team)
  Jennifer Madjarov (Admin & finance, Pixar studio team)
  Karen Perry (Admin & finance, Pixar studio team)
  Kristina Ruud (Admin & finance, Pixar studio team)
  Michelle Simons (Admin & finance, Pixar studio team)
  Joan Smalley (Admin & finance, Pixar studio team)
  Wendy Dale Tanzillo (Admin & finance, Pixar studio team)
  Shari Villarde (Admin & finance, Pixar studio team)
  Deana Walker (Admin & finance, Pixar studio team)
  Annette Wang (Admin & finance, Pixar studio team)
  Sue Williams (Admin & finance, Pixar studio team)
  Leah Marshall (Legal, Pixar studio team)
  Rob Rieders (Legal, Pixar studio team)
  Bob Roden (Legal, Pixar studio team)
  Jody Silverman (Legal, Pixar studio team)
  Carrie Winchell (Legal, Pixar studio team)
  Mary Coleman (Development, Pixar studio team)
  Karen Paik (Development, Pixar studio team)
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  James Roderick (Development, Pixar studio team)
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  Luigi Passalacqua (Craft services by Luxo Café, Pixar studio team)
  Candelaria Lozano (Craft services by Luxo Café, Pixar studio team)
  Francisco A. Figueroa (Craft services by Luxo Café, Pixar studio team)
  Francisco Martinez (Craft services by Luxo Café, Pixar studio team)
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  Samantha Wilson (Craft services by Luxo Café, Pixar studio team)
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  Ali Rowghani (Pixar senior staff)
  Lori McAdams (Pixar senior staff)
  Greg Brandeau (Pixar senior staff)
  Corbis (Images)
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Animation: Alan Barillaro (Supv anim)
  Steven Clay Hunter (Supv anim)
  Bill Wise (Character supv)
  David Munter (Sets supv)
  David McCarthy (Eff supv)
  John Warren (Tech pipeline supv)
  Jason Bickerstaff (Character modeling lead)
  Athena Xenakis (Character shading lead)
  Kristifir Klein (Set modeling lead)
  Christopher M. Burrows (Set shading lead)
  Derek Williams (Set dressing lead)
  Mark T. Henne (Crowds supv)
  Susan Fisher (Rendering supv)
  Richmond Horine (Layout mgr, Cam & staging)
  Robert Anderson (Layout artist, Cam & staging)
  Matt Aspbury (Layout artist, Cam & staging)
  Shawn Brennan (Layout artist, Cam & staging)
  Andrew Cadelago (Layout artist, Cam & staging)
  Simon Dunsdon (Layout artist, Cam & staging)
  Robert Kinkead (Layout artist, Cam & staging)
  Sukwon Park (Layout artist, Cam & staging)
  Mark Shirra (Layout artist, Cam & staging)
  Matthew Silas (Layout artist, Cam & staging)
  Bob Whitehill (Layout artist, Cam & staging)
  Derek Williams (Layout artist, Cam & staging)
  Sylvia Gray Wong (Layout artist, Cam & staging)
  Craig Good (Post-anim cam artist, Cam & staging)
  Trish Carney (Layout coord, Cam & staging)
  Kearsley Higgens (Layout coord, Cam & staging)
  Jake Martin (Anim mgr)
  Angus MacLane (Directing anim)
  Victor Navone (Anim character development)
  David DeVan (Anim character development/Anim)
  Carlos Baena (Anim)
  Rodrigo Blaas (Anim)
  Adam Burke (Anim)
  Shaun Chacko (Anim)
  Louis Clichy (Anim)
  Brett Coderre (Anim)
  Jonathen Collins (Anim)
  Don Crum (Anim)
  Patrick Delage (Anim)
  Everett Downing Jr. (Anim)
  Doug Frankel (Anim)
  Timothy Hittle (Anim)
  Guilherme Sauerbronn Jacinto (Anim)
  Nancy Kato (Anim)
  Patty Kihm (Anim)
  Ken Kim (Anim)
  Jaime Landes (Anim)
  John CC Lee (Anim)
  Wendell Lee (Anim)
  Holger Leihe (Anim)
  Austin Madison (Anim)
  Michal Makarewicz (Anim)
  Amber Martorelli (Anim)
  Dan Mason (Anim)
  Paul Mendoza (Anim)
  Sarah Mercey-Boose (Anim)
  Cameron Miyasaki (Anim)
  Victor Navone (Anim)
  Daniel Nguyen (Anim)
  Kevin O'Hara (Anim)
  Bret Parker (Anim)
  Brett Pulliam (Anim)
  Nickolas Rosario (Anim)
  Roger Rose (Anim)
  Brett Schulz (Anim)
  Bob Scott (Anim)
  Doug Sheppeck (Anim)
  Raphael Suter (Anim)
  Jean-Claude Tran Quang Thieu (Anim)
  Rob Duquette Thompson (Anim)
  Kristophe Vergne (Anim)
  Ian White (Anim)
  Kureha Yokoo (Anim)
  Ron Zorman (Anim)
  Andrew Beall (Fix anim lead)
  Sequoia Blankenship (Fix & addl anim)
  Christopher Chua (Fix & addl anim)
  Curran W. Giddens (Fix & addl anim)
  Bruce Kuei (Fix & addl anim)
  Tom Zach (Fix & addl anim)
  Arik Ehle (Crowds anim lead)
  Simon Allen (Crowds & addl anim)
  Dovi Anderson (Crowds & addl anim)
  Stephen Wong (Crowds & addl anim)
  Jason Boose (Addl anim)
  Tim Crawford (Addl anim)
  Ike Feldman (Addl anim)
  Andrew Gordon (Addl anim)
  Karen Kiser (Addl anim)
  Matt Majers (Addl anim)
  Steve Mason (Addl anim)
  Gini Cruz Santos (Addl anim)
  Andrew L. Schmidt (Addl anim)
  Michael Wu (Addl anim)
  Daniel Campbell (Anim shot support tech)
  Todd R. Krish (Anim shot support tech)
  David Park (Anim coord)
  Daniel A. Goodman (Anim coord)
  Cathleen Carmean (Anim coord)
  Adrian Ochoa (Character mgr)
  Jake Martin (Character mgr)
  Lou Hamou-Lhadj (Character modeling & articulation artist)
  Richard Hurrey (Character modeling & articulation artist)
  Ken Lao (Character modeling & articulation artist)
  Austin Lee (Character modeling & articulation artist)
  Mark Piretti (Character modeling & articulation artist)
  Bill Sheffler (Character modeling & articulation artist)
  Sajan Skaria (Character modeling & articulation artist)
  Jacob Speirs (Character modeling & articulation artist)
  Ian Steplowski (Character modeling & articulation artist)
  Mark Therrell (Character modeling & articulation artist)
  Brian Tindall (Character modeling & articulation artist)
  Michael Todd (Character modeling & articulation artist)
  Audrey Wong (Character modeling & articulation artist)
  David Batte (Character shading artist)
  Stephan Vladimir Bugaj (Character shading artist)
  Trent Crow (Character shading artist)
  Sarah Fowler Deluna (Character shading artist)
  Patrick Guenette (Character shading artist)
  Brandon Onstott (Character shading artist)
  Maxwell Planck (Character shading artist)
  Keith Stichweh (Character shading artist)
  Don Bui (Character intern)
  Seth Freeman (Character intern)
  Kathleen Relvea (Crowds & simulation mgr)
  Lena Petrovic (Crowds & simulation artist)
  Chris Lawrence (Crowds & simulation artist)
  Jiayi Chong (Crowds & simulation artist)
  Josh Anon (Crowds & simulation artist)
  Paul Kanyuk (Crowds & simulation artist)
  George Nguyen (Crowds & simulation artist)
  Frank Aalbers (Crowds & simulation artist)
  Michael Lorenzen (Crowds & simulation artist)
  Matthew Silas (Crowds & simulation artist)
  Carmen Ngai (Tailor, Crowds & simulation)
  Ziah Sarah Fogel (Crowds seq lead, Crowds & simulation)
  David Ryu (Crowds rendering optimization, Crowds & simulation)
  Christina Garcia (Addl simulation, Crowds & simulation)
  Alice Clendenen (Characters & crowds coord, Crowds & simulation)
  Richmond Horine (Addl crowds prod, Crowds & simulation)
  Lauren Topal (Addl crowds prod, Crowds & simulation)
  Sabine Koch (Sweatbox mgr, Inventory)
  Kearsley Higgins (Sweatbox mgr, Inventory)
  Kesten Migdal (Sweatbox coord, Inventory)
  Mary Van Escobar (Sets previs/Modeling mgr)
  Marc Sondheimer (Sets shading/Dressing mgr)
  Matt Aspbury (Previsualization artist, Sets)
  Brian Christian (Previsualization artist, Sets)
  Simon Dunsdon (Previsualization artist, Sets)
  Robert Kinkead (Previsualization artist, Sets)
  Arun Rao (Sets tech developer)
  Dale Ruffolo (Sets model optimization)
  Mark Adams (Modeling artist, Sets)
  Neil Blevins (Modeling artist, Sets)
  Brian Christian (Modeling artist, Sets)
  Richard Hurrey (Modeling artist, Sets)
  Jae H. Kim (Modeling artist, Sets)
  Ivo Kos (Modeling artist, Sets)
  Mike Krummhoefener (Modeling artist, Sets)
  Mark Piretti (Modeling artist, Sets)
  Evan Pontoriero (Modeling artist, Sets)
  Chris Sanchez (Modeling artist, Sets)
  Gary Schultz (Modeling artist, Sets)
  Kevin Singleton (Modeling artist, Sets)
  Suzanne Slatcher (Modeling artist, Sets)
  Richard Sun (Modeling artist, Sets)
  Gastón Ugarte (Modeling artist, Sets)
  Chuck Waite (Modeling artist, Sets)
  Raymond V. Wong (Modeling artist, Sets)
  Chris Bernardi (Sr shading artist, Sets)
  Alexander Adell (Shading artist, Sets)
  Alec Bartsch (Shading artist, Sets)
  Neil Blevins (Shading artist, Sets)
  Marc Cooper (Shading artist, Sets)
  Noah Hornberger (Shading artist, Sets)
  Thomas Jordan (Shading artist, Sets)
  Michael Kilgore (Shading artist, Sets)
  Stephen King (Shading artist, Sets)
  Emma Weyerman Merrell (Shading artist, Sets)
  J. D. Northrup (Shading artist, Sets)
  Andrew Pienaar (Shading artist, Sets)
  Josh Qualtieri (Shading artist, Sets)
  Renee Tam (Shading artist, Sets)
  Andrew Whittock (Shading artist, Sets)
  Christina Garcia (Set dressing artist)
  Alison Leaf (Set dressing artist)
  Sophie Vincelette (Set dressing artist)
  Susan Frank (Sets coord)
  Eric Rosales (Sets coord)
  Lauren Topal (Sets prod asst)
  Jonathan Farrell (Sets intern)
  Michael Jutan (Sets intern)
  Sheldon Serrao (Sets intern)
  Jenni Tsoi (Lighting mgr)
  Erik Smitt (Tech lighting lead)
  Jonathan Pytko (Lead lighting artist)
  Michael Sparber (Lead lighting artist)
  Lloyd Bernberg (Master lighting artist)
  Tim Best (Master lighting artist)
  Brian Boyd (Master lighting artist)
  Stefan Gronsky (Master lighting artist)
  Jae H. Kim (Master lighting artist)
  Luke Martorelli (Master lighting artist)
  Andrew Pienaar (Master lighting artist)
  Sudeep Rangaswamy (Master lighting artist)
  Sonja Marwood (Master lighting artist)
  Maria Yershova (Master lighting artist)
  Jeremy Birn (Shot lighting artist)
  Liz Kupinski Carter (Shot lighting artist)
  Ye Won Cho (Shot lighting artist)
  Charu Clark (Shot lighting artist)
  Keith Cormier (Shot lighting artist)
  Angelique Reisch (Shot lighting artist)
  Chris Fowler (Shot lighting artist)
  Julie Garcia (Shot lighting artist)
  Ian House (Shot lighting artist)
  Sungyeon Joh (Shot lighting artist)
  Josée Lajoie (Shot lighting artist)
  Jessica Giampietro McMackin (Shot lighting artist)
  Ian Megibben (Shot lighting artist)
  Eileen O'Neill (Shot lighting artist)
  Kimberly Ross (Shot lighting artist)
  Dale Ruffolo (Shot lighting artist)
  Afonso Salcedo (Shot lighting artist)
  Julien Schreyer (Shot lighting artist)
  David Shavers (Shot lighting artist)
  Kenneth Sullivan (Shot lighting artist)
  Kyoung Lee Swearingen (Shot lighting artist)
  Esdras Varagnolo (Shot lighting artist)
  Jeremy Vickery (Shot lighting artist)
  Sharon Calahan (Lighting consultant)
  Carl Nai Frederick (Lighting optimization eng)
  Bryan Cline (Lighting optimization eng)
  Jacob Kuenzel (Illumination eng)
  Kate Ranson-Walsh (Lighting coord)
  Eric Rosales (Lighting coord)
  Brad Kane (Eff mgr)
  Chris Chapman (Eff seq lead)
  Jason Johnston (Eff seq lead)
  Keith Daniel Klohn (Eff seq lead)
  Ferdi Scheepers (Eff seq lead)
  Frank Aalbers (Eff artist)
  David Batte (Eff artist)
  Juan J. Buhler (Eff artist)
  Tolga Göktekin (Eff artist)
  Seth Holladay (Eff artist)
  Chris King (Eff artist)
  Mach Tony Kobayashi (Eff artist)
  Tom Nixon (Eff artist)
  Enrique Vila (Eff artist)
  Bill Watral (Eff artist)
  Brad Winemiller (Eff artist)
  Diego Garzòn Sanchez (Eff intern)
  Kurt Phillips (Eff intern)
  Sarah Chiappinelli (Lighting & eff prod asst)
  Paul McAfee (Rendering mgr, Rendering & optimization)
  Joshua Jenny (Rendering & optimization artist)
  Alexander Kolliopoulos (Rendering & optimization artist)
  Nick Lucas (Rendering & optimization artist)
  Alexander Timchenko (Rendering & optimization artist)
  Mark VandeWettering (Starfields development, Rendering & optimization)
  Alice Clendenen (Rendering coord, Rendering & optimization)
  Eric Peden (Rendering intern, Rendering & optimization)
  Lucas R. A. Ives (Tech development lead)
  Mary Van Escobar (Tech development coord)
  Brian Smits (Development eng, Tech development)
  Frank Aalbers (Development eng, Tech development)
  Fareed Behmaram-Mosavat (Development eng, Tech development)
  Ferdi Scheepers (Development eng, Tech development)
  Maxwell Planck (Development eng, Tech development)
  Kurt Fleischer (Development eng, Tech development)
  Chris Chapman (Development eng, Tech development)
  Jiayi Chong (Development eng, Tech development)
  Keith Daniel Klohn (Development eng, Tech development)
  Michael K. O'Brien (Development eng, Tech development)
  Martin Nguyen (Development eng, Tech development)
  Chris Schoeneman (Development eng, Tech development)
  David Wallace (Development eng, Tech development)
  Nathan Matsuda (Tech intern, Tech development)
  Manish Sharma (Tech intern, Tech development)
  Marionette (Anim on)
Color Personnel: David Lortsher (Col grading op)
  Susan Brunig (Col grading op)
  Terry Claborn (Col timer)
  Jim Passon (Col timer)
MPAA Rating: G
Country: United States
Language: English

Music: "Thus spake Zarathustra" by Richard Strauss.
Songs: "Down to Earth," music by Peter Gabriel and Thomas Newman, lyrics by Peter Gabriel, performed by Peter Gabriel, featuring The Soweto Gospel Choir, produced by Peter Gabriel, L.A. sessions produced by Thomas Newman, recorded by Richard Chappell, Mixed by Tchad Blake; "Put on Your Sunday Clothes" and "It Only Takes a Moment," music and lyrics by Jerry Herman, courtesy of Twentieth Century Fox Film Corporation; "Don't Worry, Be Happy," music and lyrics by Bobby McFerrin, performed by Bobby McFerrin, produced by Linda Goldstein, courtesy of Original Artists; "La vie en rose," music and lyrics by Louiguy, Edith Piaf and David Mack, performed by Louis Armstrong, courtesy of The Verve Music Group under license from Universal Music Enterprises; "BNL Jingle," music by Thomas Newman, lyrics by Bill Bernstein.
Composer: Bill Bernstein
  Peter Gabriel
  Jerry Herman
  Louiguy
  David Mack
  Bobby McFerrin
  Thomas Newman
  Edith Piaf
  Richard Strauss
Source Text:

Copyright Claimant Copyright Date Copyright Number
Disney Enterprises, Inc. 21/8/2008 dd/mm/yyyy PA1606305

PCA NO: 44354
Physical Properties: Sd: Dolby Digital; dts Digital Sound; SDDS Sony Dynamic Digital Sound in selected theatres
  col:
  Anim:
  Lenses/Prints: Prints by Deluxe and Technicolor; Kodak Motion Picture Film

 
Genre: Science fiction
  Science fiction
  Science fiction
Sub-Genre: Animation
  Post-apocalyptic
  with songs
 
Subjects (Major): Environmental contamination
  Robots
  Romance
  Spaceships
  Transformation
 
Subjects (Minor): Cockroaches
  Computers
  Ecology
  Fire extinguishers
  Hello, Dolly! (Motion picture)
  Loneliness
  Monopolies
  Recordings
  Revolutions
  Sanitation workers
  Stowaways
  Videocassettes
  Voyages and travel

Note: On the film's title card, the word WALL-E appears in all caps, with a dot in place of the hyphen and the E centered within a red circle. The font is reminiscent of dot matrix computer printouts from the 1980s. After the logos for Walt Disney and Pixar studios, the opening company credits appear over animated shots of outer space. From there the viewer is taken through earth’s atmosphere. The screen pans across vistas that first appear to be mountains and cityscapes, but soon most are revealed to be huge mounds of compacted garbage. The character “WALL-E” is seen from above, as he moves along paths between the stacks. The screen zooms in to ground level, where WALL-E is shown with his cockroach friend, going about his daily duties of collecting and compacting the garbage, then laying it in stacks like bricks. Over this sequence the song, “Put On Your Sunday Clothes” from the 1969 Twentieth Century-Fox film, Hello, Dolly! (see above), is heard, beginning with the lyrics, “Out there, there’s a world outside of Yonkers….” The lyrics hint at WALL-E’s yearning and curiosity, and the music becomes a rallying song later in the film during the sequences on the Axiom . When WALL-E and the cockroach finish for the evening and proceed toward the truck they use for a home, the title card for WALL-E is shown, and Thomas Newman’s score commences, interspersed with advertising jingles of the fictional company “Buy N Large” (BNL) heard and shown on holographic billboards that WALL-E passes.
       Although most of the film is animation, the advertisements and other filmed messages, most depicting the BNL CEO, “Shelby Forthright,” played by Fred Willard, are live action. Willard was the first actor to appear as a live action character with a speaking role in a Pixar production and the filming of the sequences with Willard was director Andrew Stanton’s live action directorial debut. Other live action shots shown in the film are moving and still images on the “captain’s” computer, and excerpts from Hello, Dolly! , which is the film on WALL-E’s treasured videotape. The excerpts feature sequences containing the above mentioned song, “Put On Your Sunday Clothes,” sung by Michael Crawford and other members of the cast. Another song, “It Only Takes a Moment,” which is sung by Crawford and Marianne McAndrews, contains the hand-holding scene that inspires WALL-E to pursue romance. During approximately the first twenty minutes of the film, especially those set on earth, there is little dialogue, except for the film clips, the computer bleeps and other word-like sounds the robot characters use to communicate.
       The end credits feature the original song, “Down to Earth” by Peter Gabriel and Thomas Newman. The elaborate background to the end credits presents an epilogue to the story, showing the humans and robots restoring earth through pictures that follow the sequence of the history of art. The first credits are shown on a background reminiscent of cave art depicting the captain leading the humans and robots out of the spaceship. Further credits are shown on backgrounds in the style of Egyptian hieroglyphics, Grecian urns and drawings in the style of Leonardo Da Vinci that depict the humans, assisted by robots, learning to farm, make fire, dig wells, and build habitats and sailing vessels. The sequence of credits end over facsimiles of famous Impressionist paintings, such as those by Georges Seurat and Vincent van Gogh, with film characters added to the scene, showing them living in a garden-like paradise. According to Stanton’s commentary on the 2008 DVD release of the film, several of the animators felt that WALL-E ’s ending concluded the story of the romance of WALL-E and “EVE” satisfactorily, but that the human story was left hanging. Many of Stanton’s colleagues felt that the humans could not thrive more than a couple weeks after having their needs cared for by robots for seven hundred years. Instead of changing the story’s ending, the epilog was used to show how they would survive.
       After the major credits, the rest of the credits scroll, embellished with simple cartoon-like figures reminiscent of computer game graphics of the 1980s, showing WALL-E, EVE, and “M-O” (an acronym for “microbe obliterator”), who continues to clean up trails of dirt tracks along the sides of the screen. After the crew credits, there is a list of individuals and companies given a "special thanks," followed by a list of babies born to crew members during production. The end credits include acknowledgments to Twentieth Century-Fox and Pong Classic Video Game (a game WALL-E plays in the film) and Atari 2600 Console courtesy of Atari Interactive, Inc. The final end credit depicts the logo, BNL, of the fictional corporation, Buy N Large, that was prominent in the story. At the end of the credits, Pixar Studio’s animated logo appears, featuring the bouncing animated Luxo light (an homage to the studio’s 1986 animated short, Luxo Jr. ) in place of the “I” in Pixar. In this version of the logo, the figure of WALL-E enters to change the lamp’s burned out bulb then, after accidentally knocking over the R, appears in the R’s place.
       According to a 22 Jun 2008 NYT article, the genesis of the film’s story occurred at a 1994 luncheon of Pixar creative people near the end of production of their 1995 film, Toy Story . As the filmmakers sketched story ideas on napkins, someone suggested a scenario of humanity being forced to abandon the earth and inadvertently leaving behind a little robot that continued to carry out its duties. Other stories brainstormed at the luncheon developed into A Bug’s Life (1998), Monsters, Inc. (2001) and Finding Nemo (2003, see entry below). However, the idea of the abandoned robot was set aside for about ten years. During this time, the idea was referred to as “Trash Planet,” and Stanton and writer Pete Docter always had the idea that the robot would be some kind of sanitation worker, according to Stanton’s commentary on the DVD. Despite the ecological message of the final film, Stanton maintains that he never intended to convey a particular agenda, but that the film’s suggestion of mankind’s future was extrapolated by working backwards from the abandoned robot cleaning up trash, then asking why was there so much trash and why was the robot left behind.
       In early 2004, after winning an Academy Award for Best Animated Picture for Finding Nemo , Stanton gave up plans for a six-month vacation and began work on WALL-E . The 22 Jun 2008 NYT article and the DVD commentary reported the following: In what he described as a “private experiment,” Stanton gathered a tight-knit group of colleagues Ronnie del Carmen, Peter Sohn, his brother Nathan Stanton and editors Nicholas C. Smith and Axel Geddes] who spent about six months storyboarding. As animated stories are usually heavy with dialogue, Stanton was reluctant to admit to others outside the group that he was searching for a way to tell a story without using dialogue. Stanton and his colleagues studied the works of silent film stars Charlie Chaplin, Buster Keaton and Harold Lloyd, who portrayed energetic and sympathetic characters who rarely spoke. During this time, the group defined the look, feel and tone of WALL-E .
       Although the team wanted WALL-E’s look conform to a machine that compacted garbage, thought was given to his facial features. According to the 22 Jul 2008 NYT article, Stanton urged the group to collect photos of machines and other items that appeared to have personalities and, while at a baseball game, Stanton got the idea of using binoculars as a model for WALL-E’s eyes. According to a documentary included as added content on the DVD release of the film, the group imbued WALL-E with the wonder and curiosity that a child has about items used by adults, which was reflected in the story as the way the robot collects and prizes items he finds in the garbage, some of which had recognizable brand names, like Rubik’s cubes and the electronic game, Pong.
       Stanton also consulted Ben Burtt, the Academy Award winning sound designer who created the robotic sounds of the character “R2D2” in Star Wars (1977) and its sequels, as well as characters and sounds of other films. After Burtt joined the project, Stanton provided him with a conventional script, which Burtt had to “translate” into a robot language of sounds, in a process Burtt calls “audio puppeteering.” Burtt’s theory is that people give real sounds a subconscious association, which can be interpreted by the listener into words and emotions. The sound of WALL-E’s movements across terrain was devised by Burtt by recording the sound of a hand-cranked, World War II Army generator that he first saw in a John Wayne movie and later purchased on eBay. Early in the project, the group considered providing the humans in the story with a new, evolved language, but that idea was dropped.
       According to a 4 Jul 2008 LAT article, Stanton originally had the idea of juxtaposing scenes of outer space with the sound of French swing music. However, after the release of the 2003 animated French film, The Triplets of Belleville , which used that style of music in its score, Stanton feared that his idea would seem derivative of the earlier film. He listened to various popular standards and songs from musicals of the mid-twentieth century for the retro sound he was seeking and eventually recalled the songs from the famous Hello, Dolly! , a stage musical in which he had played “Barnaby” in a high school production. Searching for a reason for the character WALL-E to know those songs, co-writer Jim Reardon imagined the idea of WALL-E finding an old videotape of the 1969 movie adapted from the stage play. These ideas inspired the Pixar team to develop the brief hand-holding shot during the song, “It Only Takes a Moment,” from the film into the symbol of WALL-E’s expression for the thought, “I love you.” According to Stanton’s DVD commentary, the original shot of the actors holding hands was not a moment emphasized in the 1969 film and was created by Pixar staff by zooming in on the original shot to get a close-up of the hands.
       WALL-E drew on themes from science fiction films of the late 1960s to early 1980s, and made brief homages to films such as Twentieth Century-Fox productions, The Poseidon Adventure (1972) and Star Wars (1977), Universal Picture’s 1982 film, ET: The Extra-Terrestrial (1982) and Pixar’s 2001 Monsters, Inc. . Sigourney Weaver, who provides the voice for the computer in the film, was the star of the 1979 Twentieth Century-Fox production, Alien , and its sequels. Although, according to the DVD commentary, the appearance of the character “Auto” was partially inspired by the wheel used to navigate early ships, the eye-like center of the character and its antagonistic role in the story was reminiscent of the computer, “HAL 9000,” in 2001: A Space Odyssey (1969, see above). Another homage to that film is the use of the famous theme from Richard Strauss’s Thus Spake Zarathustra when the captain first attempts to walk.
       In the DVD commentary, Stanton stated that “A113,” the computer code that signified staying in space and not returning to earth, was a Pixar in-joke that has appeared in other Pixar films. Many of the Pixar employees are graduates of the California Institute of the Arts, where several classes in animation were held in room A113. He also explained that the portraits of the captains in the bridge of the ship Axiom , whose names written under the portraits were given as “Reardon,” “Fee,” “Thompson,” “Brace,” and “O’Brien,” were stills of Pixar employees that had been enhanced to look cartoonish. Although the name of the captain in the story is never spoken, the name under his portrait on the wall is ”B. McCrea,” a tribute to Bob McCrea, an animator at Disney who taught character animation at California Institute of the Arts from 1977 until 1986.
       Stanton reported that after the screening of WALL-E in Portland, OR, a sequence was changed. In the original version, the character EVE, not WALL-E, was electrocuted by Auto and thrown into the garbage chute during the struggle for the plant between the captain and Auto. Later, reasoning that the plot is about how WALL-E’s actions affected those around him, the animators reversed the roles. In the released film, WALL-E is injured and EVE must decide to forego her prime directive in order to rescue him, thus showing that he has become important to her. The earlier version of the scene was included as added content on the DVD release.
              The film drew controversy around the time of its release, when, as noted in a 13 Jul 2008 LAT editorial and other articles and blogs, some well-known conservatives were offended by the film’s themes of over-consumption, environmentalism, big corporations and what they interpreted to be anti-capitalist, anti-American propaganda. However, some conservatives praised the film. A CSM (csmonitor.com) blog dated 2 Jul 2008 quoted Patrick J. Ford’s statement in The American Conservative , in which he pointed out that WALL-E showed the importance of small town life, romantic devotion, small farms, atomic family and wholesome entertainment.
       In addition to being named one of AFI’s Movies of the Year, WALL-E was named one of 2008’s top ten films by the National Board of Review. It was nominated by the Broadcast Film Critics Association for Best Picture, and won the organization’s Annual Critics’ Choice Award for Best Animated Feature. The New York Film Critics Circle named the picture the Best Animated Film of the year, and it was also named Best Animated Film by the PGA. The film was nominated for a Golden Globe award for Best Original Song, “Down to Earth,” and won the award for Best Animated film. WALL-E was nominated for Academy Awards for Best Music (Score), Best Song ("Down to Earth"), Best Sound Editing, Best Song Mixing, Best Writing (Original Screenplay) and won for Best Animated Feature Film. 

Bibliographic Sources:   Date   Page
Christian Science Monitor   2 Jul 2008.   
Hollywood Reporter   25 Jun 2008.   
Hollywood Reporter   14 Nov 2008   pp. 21-22.
Los Angeles Times   27 Jun 2008   Calendar, p. 1.
Los Angeles Times   30 Jun 2008.   
Los Angeles Times   1 Jul 2008.   
Los Angeles Times   4 Jul 2008.   
Los Angeles Times   13 Jul 2008.   
Los Angeles Times   18 Jul 2008.   
Los Angeles Times   31 Jul 2008.   
New York Times   27 Jun 2008.   
Time   23 Jun 2008   pp. 121-123.
Variety   26 Jun 2008.   

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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