Producer Jim Morris recommended Ben Burtt as sound designer for WALL-E because Stanton kept using R2-D2 as the benchmark for the robots.[26] Burtt had completed Star Wars Episode III: Revenge of the Sith and told his wife he would no longer work on films with robots, but found WALL-E and its substitution of voices with sound "fresh and exciting".[5] He recorded 2500 sounds for the film, which was twice the average number for a Star Wars film,[16] and a record in his career.[5] Burtt began work in 2005,[43] and experimented with filtering his voice for two years.[44] Burtt described the robot voices as "like a toddler [...] universal language of intonation. 'Oh', 'Hm?', 'Huh!', you know?"[45]
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. Burtt used many of MacDonald's items on WALL-E. 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.[46] He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas.[5] 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.[46] 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.[8]
Burtt saw a hand-cranked electrical generator while watching Island in the Sky, and bought an identical, unpacked device from 1950 on eBay to use for WALL-E moving around.[47] Burtt also used an automobile self starter for when WALL-E goes fast,[46] and the sound of cars being wrecked at a demolition derby provided for WALL-E's compressing trash in his body.[48] The Macintosh computer chime was used to signify when WALL-E has fully recharged his battery. For EVE, Burtt wanted her humming to have a musical quality.[46] 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.[35] Burtt recorded a flying 10-foot-long (3.0 m) radio-controlled jet plane for EVE's flying,[5] 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.[49]
MacInTalk was used because Stanton "wanted Auto to be the epitome of a robot, cold, zeros & ones, calculating, and soulless [and] Stephen Hawking's kind of voice I thought was perfect."[25] Additional sounds for the character were meant to give him a clockwork feel, to show he is always thinking and calculating.[46]
Burtt had visited Niagara Falls in 1987 and used his recordings from his trip for the sounds of wind.[48] He ran around a hall with a canvas bag up to record the sandstorm though.[5] 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.[50] To create Hal (WALL-E's pet cockroach)'s skittering, he recorded the clicking caused by taking apart and reassembling handcuffs.[5]
[edit]
Music
See also: WALL-E (soundtrack)
Thomas Newman recollaborated with Stanton on WALL-E since the two got along well on Nemo, which gave Newman the Annie Award for Best Music in an Animated Feature. He began writing the score in 2005, 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 2007. 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.[51] 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.[52]
A live-action clip of the song "It Only Takes a Moment" from Hello, Dolly!, which inspires WALL-E to hold hands with EVE
Stanton originally wanted to juxtapose the opening shots of space with 1930s French swing music, but he saw The Triplets of Belleville (2003) and did not want to appear as if he were copying it. Stanton then thought about the song "Put On Your Sunday Clothes" from Hello, Dolly!, since he had portrayed the sidekick Barnaby Tucker in a 1980 high school production.[53] 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. Jim Reardon suggested WALL-E find the film on video, and Stanton included "It Only Takes a Moment" and the clip of the actors holding hands, because he wanted a visual way to show how WALL-E understands love and conveys it to EVE. Hello Dolly! composer Jerry Herman allowed the songs to be used without knowing what for; when he saw the film, he found its incorporation into the story "genius".[54] Coincidentally, Newman's uncle Lionel worked on Hello, Dolly![5]
Newman travelled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians. Afterwards, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.[5] Louis Armstrong's rendition of "La Vie en rose" was used for a montage where WALL-E does not get EVE's attention on Earth. The script also specified using Bing Crosby's "Stardust" for when the two robots dance around the Axiom,[7] 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.[55]
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. Burtt used many of MacDonald's items on WALL-E. 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.[46] He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas.[5] 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.[46] 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.[8]
Burtt saw a hand-cranked electrical generator while watching Island in the Sky, and bought an identical, unpacked device from 1950 on eBay to use for WALL-E moving around.[47] Burtt also used an automobile self starter for when WALL-E goes fast,[46] and the sound of cars being wrecked at a demolition derby provided for WALL-E's compressing trash in his body.[48] The Macintosh computer chime was used to signify when WALL-E has fully recharged his battery. For EVE, Burtt wanted her humming to have a musical quality.[46] 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.[35] Burtt recorded a flying 10-foot-long (3.0 m) radio-controlled jet plane for EVE's flying,[5] 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.[49]
MacInTalk was used because Stanton "wanted Auto to be the epitome of a robot, cold, zeros & ones, calculating, and soulless [and] Stephen Hawking's kind of voice I thought was perfect."[25] Additional sounds for the character were meant to give him a clockwork feel, to show he is always thinking and calculating.[46]
Burtt had visited Niagara Falls in 1987 and used his recordings from his trip for the sounds of wind.[48] He ran around a hall with a canvas bag up to record the sandstorm though.[5] 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.[50] To create Hal (WALL-E's pet cockroach)'s skittering, he recorded the clicking caused by taking apart and reassembling handcuffs.[5]
[edit]
Music
See also: WALL-E (soundtrack)
Thomas Newman recollaborated with Stanton on WALL-E since the two got along well on Nemo, which gave Newman the Annie Award for Best Music in an Animated Feature. He began writing the score in 2005, 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 2007. 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.[51] 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.[52]
A live-action clip of the song "It Only Takes a Moment" from Hello, Dolly!, which inspires WALL-E to hold hands with EVE
Stanton originally wanted to juxtapose the opening shots of space with 1930s French swing music, but he saw The Triplets of Belleville (2003) and did not want to appear as if he were copying it. Stanton then thought about the song "Put On Your Sunday Clothes" from Hello, Dolly!, since he had portrayed the sidekick Barnaby Tucker in a 1980 high school production.[53] 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. Jim Reardon suggested WALL-E find the film on video, and Stanton included "It Only Takes a Moment" and the clip of the actors holding hands, because he wanted a visual way to show how WALL-E understands love and conveys it to EVE. Hello Dolly! composer Jerry Herman allowed the songs to be used without knowing what for; when he saw the film, he found its incorporation into the story "genius".[54] Coincidentally, Newman's uncle Lionel worked on Hello, Dolly![5]
Newman travelled to London to compose the end credits song "Down to Earth" with Peter Gabriel, who was one of Stanton's favorite musicians. Afterwards, Newman rescored some of the film to include the song's composition, so it would not sound intrusive when played.[5] Louis Armstrong's rendition of "La Vie en rose" was used for a montage where WALL-E does not get EVE's attention on Earth. The script also specified using Bing Crosby's "Stardust" for when the two robots dance around the Axiom,[7] 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.[55]
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