Production
Writing
BACK ON M-O AND WALLY [sic]
M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can’t resist.
M-O (bleeps): [Look, it stays clean. You got that?]
Wally wipes the bottom of his tread on M-O’s face.
M-O loses it.
Scrubs his own face.
Stanton wrote the screenplay to focus on the visuals
and as a guide to what the sound effects needed to convey[7]
Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story was nearing completion and the writers brainstormed ideas for their next projects – A Bug's Life, Monsters, Inc., and Finding Nemo – at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"[5] 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.[8][9] 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.[10] Stanton also liked the imagery of stacked cubes of garbage.[11] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.[12]
Stanton and Pete Docter developed the film under the title of Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monsters, Inc. instead.[13][14] Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.[15] 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.[12] Stanton started writing WALL-E again in 2002 while completing Finding Nemo.[16] 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.[9] In late 2003, 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,[17] though Jobs stated he did not like the title, originally spelled "W.A.L.-E."[18]
While the first act of WALL-E "fell out of the sky" for Stanton,[12] he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was very different. 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, gelantinous, 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.[5][19][20] Therefore, this was the inspiration of the humans degenerating into the alien Gels,[21] and their ancestry would have been revealed in a Planet of the Apes-style ending.[22] 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.[23] 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.[23] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".[22] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",[22][24] wanting WALL-E and EVE's relationship to inspire humanity because he felt very few films explore how utopian societies come to exist.[25] 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.[23]
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,[26] 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.[21] 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.[23]
Originally, EVE would have been electrocuted by Auto, and then be quickly saved from ejection at the hands of the WALL-A robots by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 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.[21] Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and 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.[27]
Writing
BACK ON M-O AND WALLY [sic]
M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can’t resist.
M-O (bleeps): [Look, it stays clean. You got that?]
Wally wipes the bottom of his tread on M-O’s face.
M-O loses it.
Scrubs his own face.
Stanton wrote the screenplay to focus on the visuals
and as a guide to what the sound effects needed to convey[7]
Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story was nearing completion and the writers brainstormed ideas for their next projects – A Bug's Life, Monsters, Inc., and Finding Nemo – at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"[5] 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.[8][9] 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.[10] Stanton also liked the imagery of stacked cubes of garbage.[11] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.[12]
Stanton and Pete Docter developed the film under the title of Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monsters, Inc. instead.[13][14] Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.[15] 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.[12] Stanton started writing WALL-E again in 2002 while completing Finding Nemo.[16] 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.[9] In late 2003, 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,[17] though Jobs stated he did not like the title, originally spelled "W.A.L.-E."[18]
While the first act of WALL-E "fell out of the sky" for Stanton,[12] he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was very different. 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, gelantinous, 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.[5][19][20] Therefore, this was the inspiration of the humans degenerating into the alien Gels,[21] and their ancestry would have been revealed in a Planet of the Apes-style ending.[22] 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.[23] 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.[23] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".[22] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",[22][24] wanting WALL-E and EVE's relationship to inspire humanity because he felt very few films explore how utopian societies come to exist.[25] 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.[23]
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,[26] 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.[21] 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.[23]
Originally, EVE would have been electrocuted by Auto, and then be quickly saved from ejection at the hands of the WALL-A robots by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 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.[21] Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and 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.[27]
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