DarkHandOfSigourneyWeaver- Well, yes, exactly. It’s a really funny idea, hence why it doesn’t support the idea of WALL-E fixing one of his buddies. Sorry if my post wasn’t clear. I think we also have to remember that in a way, WALL-E is like a child. Perhaps you’re right- maybe WALL-E never came to the realisation that he could fix another WALL-E for companionship. I mean, he’s not stupid, but he is naive about many things, especially the world around him.
Whew! What a relief, I thought you had turned to the dark side or were entering your second childhood.
Yes, that’s what makes Wall-E funny when he encounters new things. You kind of never want him to grow up. Sometimes he figures things out right away, which is a surprise, and it has to be that way, otherwise the movie would be predictable and boring. In some ways I get the impression he didn’t attain a consciousness until more recent centuries, so that very early on he was like the other Wall-E’s. Then on the other hand, there is the other theory that he got smart early or had some accident or was in a tunnel that protected him when people were abandoning the earth. Guess it’s just a mystery and mysteries are fun to speculate about.
Or he could have been “born” with a malfunction that gave him a personality from the very beginning, or it could have been the loneliness that triggered that malfunction to give him a personality. It could also be the same malfunction that didn’t make him switch off when the signal was sent out.
Yes, he tried to jump start EVE, but only in the manner that would have jump-started him, like putting her in the sun (one of the cutest actions in the movie) and then connecting some cables from his energy supply to her. Another way to show that WALL•E is more like a child, such as if a toddlers favourite food is blueberries, but you show them that you don’t like the taste of blueberries, depending on what mental stage they are at, if they are still young, they will offer you blueberries because they haven’t yet learnt that what might work for them, may not work for other people. I suppose he could have tried to restart the other WALL•Es… he may have even attempted to. But I think he wanted someome in the form of a romantic companion, rather than an friend.
I have only just seen that garbage compactor deleted scene because I’m still making my way through the extras. Even though that scene was switched around and it did end up being for the betterment of the movie, I wish the lighter had been given more of a role later on in the film, or even to somehow help EVE fix WALL•E. It would have brought the ‘spark of love’ full circle. I don’t know if that deleted scene can be considered canon, though.
Andrew Stanton said in interviews that a signal was sent out that turned off all the robots except one. But then in other interviews, Andrew said something like “What if somebody forgot to turn off the last robot on Earth?” as the basic premise. This sort of contradicts with the signal theory, but totally debunks the breaking-down of the robots theory. However, it doesn’t totally contradict the signal theory. Auto, or perhaps even the Captain, could have manually gone through every robot’s file on the computer and had to have turned them off, and sent out one unique signal per robot, but just forgotten to send out WALL•E’s signal. There’s also the option of a glitch on the ship’s computer that didn’t send out WALL•E’s signal, but that wouldn’t match with the theory of " someone forgetting."
What!!! I looked at the lighter but I didn’t see my name there… Please explain.
Roflmao* Well, to be sure if I ever sent Pixar all the correspondence over that lighter, they would try some way to wiggle it into one of their future movies. You can put away your magnifying glass …oh the poor ‘pause’ button on your player.
Somewhere on this forum I read about the disagreements over how the Wall-E’s stopped functioning: stop signal vs. eventual breakdown. Wall-E’s own controller board could have been damaged or improperly made from the start. Regardless, Wall-E knew the basics of electrical repairs around delicate mechanisms and who knows what he could have done…
Wall-E as the last robot on earth they forgot to turn off. Well, assuming they couldn’t take everything with them, and didn’t actually destroy the bots, then Wall-E could have figured out some way to turn other bots on.
When Wall-E knocked on the old refrigerator door containing the plant, was he doing that to see if it was hollow, or was he checking to see if it was a sleeping bot, or maybe he was being courteous in case someone was taking a leak inside (just kidding on the last one) ? It seems instinctive to knock on a door. In all that garbage there would be some bots or toys that could still function, like the talking fish. Wall-E put together the vcr, the Hello Dolly tape, a cell phone with screen and a magnifying thingee. But he never figured out the lighter.
By the way, the ‘smarter’ Eve didn’t know what to make of the tape or the singing fish, or the revolving shelves, or the ship’s electromagnet, etc… and didn’t seem to be able to compute the results of her impulsive, powerful acts on the surroundings, such as when she tried to dance and spin. Which means she wasn’t so smart.
*roflmao: Rolling on floor laughing my -ss off
Wall-E escapes the pod by either pulling the escape hatch lever or cutting it with his laser, I’m guessing the earlier considering if he could hang onto a rocket ladder during launch he can probably pull a hatch lever designed for humans, he just needed to put more muscle into it before it worked.
Wall-E and Eve communicate in space via Electromagnetic transmission, if EVE can pick up on signs of plant life using her sensors she can sure as heck pick up on electromagnetism, even the waves coming from the wires to Wall-E’s speakers
The Wall A’s are big because all the trash is in a central, unobstructed, location in the AXIOM where as the Wall-Es need ed to be small to get into small areas and clean up every inch of earth.
5 EVEs = 5 Locations on earth, thats why she rattled off a half dozen words for “directive”, including “derectivo”, spanish for derective
Wall-Es controller board or mother board was broken ie. his soul
Wall-E made ALL of those towers, the large crane like things are trash incinerators and they where supposed to burn the garbage before it got that high, since most of the towers are above there hight it can only be assumed that wall E built them, or at least there tops. 700 years times 365days times 4ft(the hight of the base of the scyscraper we see wall-e build in one day) = 1,022,000 ft high of skyscraper more than enough to make ALL of them from top to bottom.
in the original scene wallE saves EVE in the compactor in the AXIOM and walle convinces the Wall-As to help him by showing them a recently compacted cub, they look upon it with admiration and an “oh thats cute” demeanor, theres your connection, on the cutting room floor.
Wall-E did not cause the sand storm with his cooler, come on folks, really?
when the AXIOM docked there was no storm and that was half the size of new york(yes I believe it was a scene of new york, sky line has changed in two centuries thats how I’m defending it.)
A seed data base was undoubtedly placed on the AXIOM or on earth like the one in iceland/greenland in reality, look it up, google doomsday seed storage
that is how they are able to “regrow” earth.
Some of my own observations, just off the top of my head(I crap you not):
Wall-Es cooler does indeed contain WD-40, a crescent wrench and a screwdriver, for repairs it also is modeled after the old Igloo cooler design
Wall-Es truck is powered by a pile of car batteries hooked up in a messy combination of parallel and series, to bring them up to the correct current output
WallEs “full” sound is the MAC start up noise
Auto does not have a voice actor he is Macintalk a voice program bundled with the first Mac computer.
Wall-E watches his movie on hacked Ipod(old style buttons but it plays video, go figure ^_^) and it is magnified with a overhead projector plastic magnifier lens.
Best joke in the movie
“the last Holo-date I went on is a virtual disaster.”
EVE cycles through number-us languages before settling on the english form of the word “Directive?”
“700th” anniversary of our 5 year cruse"
AKA
Septuasentential
MO is only designed to clean Foreign contaminant and has no desire to clean the rest of the AXIOM garbage because it is not “Foreign” material
The AXIOM orbits in the Kepler belt just beyond satern.
EVE has a complex series os electrical motors and devises just underneath her housing and you can see them if you look close below her hovering head
Wall-E found a key to a porscha(you can tell by the sound)
The Bra he put on his Eyes was a D size(look it up, it is)
the sign on the building as Wall-E is leaving his truck is for “BnL Reused Food”
The tanker ship that EVE got stuck to must have still had power considering it was an electromagnet she was stuck too
Welcome aboard. I for one agree with most of what you said.
This is a good idea. Stanton on the dvd admits there isn’t any atmosphere for sound waves in space and laughs about their ability to communicate here, but the area where the Axiom was in was not pure space. There was a nearby gas cloud.
Well, then how did he get his soul back? RachelCakes thinks that Eve’s ‘kiss’ transmitted his soul back to the new board, but Stanton on the dvd claims the kiss was only the last zap needed to trigger a rebooting of Wall-E. We just don’t know all of what Wall-E had in there. He seems to have a horizontal slot on his upper side that Hal the roach went into and caused some controller discombobulations. It sure looks like a slot for a disk. edit: No, on closer look its where his arms can slide forward.
Yeah, there was clearly something missing in the final version. It had appeared the Wall-A’s had overridden their directive and befriended the three bots. There is a cube, altho smaller than usual, near the damaged Wall-E when he goes over to pick up the plant.
Lol. You fell for one of my jokes, I put that there as a test.
That’s sort of what it looks like. The joke I never got, thought Mary was saying ‘holiday’, never have put on the English subtitles.
The Soundtrack
Here is a comprehensive list of the tracks from the CD and what they did for the movie. It’s different than most posts over at the ‘Soundtrack’ thread, no “here are my 3 favorite songs…”. I’ve tried to combine what many people have said about each tune, although there is some subjectivity on my part. Also, I’m going to try to start a discussion of the Sound of Tommy Newman. I’m familiar with many of his movies, some seen many, many times, but how he does his craft is usually subservient to the overall visual effect. Well, I read somewhere that we use about 1/3 of our brains for visual processing and 1/10 for sound proc. That pretty much tells the story. Of the sound, Ben Burtt & Co. has his share, and Newman did the music.
First, the tracks and how well they served the visual accompaniment:
-
Put On Your Sunday Clothes. This introductory Hello Dolly tune also introduces us to our movie. It is performed on the wide streets of an American city in both movies. When conceived in the early 60’s for the Broadway play, it was designed to sound, well, hokey - from the very late 1800’s, in a time of unbridled optimism. It’s the height of naivety by the time the year 2815 rolls around. An excellent tune, well admired by many here on the forum and fairly well known. And of course, Wall-e loves it too, humming along. It’s the first time we are introduced to his human side.
-
2815 A.D. A masterpiece. This is the first Tommy Newman song on the record. Evokes an eerie, vacuous mood. Much of the piece includes sonorous horns while Wall-E passes by the megalithic tombstones. A harp is also used to convey the seriousness of the bleak doomscape. Each note is part of a journey back to his home, a ‘footstep’, with the notes becoming lower as he is falling away down the building, down the transit path. This device was used in Beethoven’s ‘Moonlight Sonata’ (not his name for it, he conceived it as a fantasia, not a romance), with each note on the piano being a step in a journey. At one point there is a high pitched, soft and and easy to miss sound like a chorus of ghosts. The last part of this song is the Wall-E truck theme, using a xylophone (music box notes) and this completely changes the mood to one of hopeful intimacy and allows a greater child-like wonder to be lent to the animation. In between the xylophone notes is a quiet, fragile, high pitched sound… elusive, and I don’t know what instrument can make this sound. This last part is a nice counterpoise to the gloom of the outside necropolis. The more I hear this part the more it sounds like an anthem. This song is rated as one of the top handful of cd songs by forum members.
-
Wall•E. A honky-tonk, scat sort of tune for our irreverent, often childish hero. With cow bell sounds, a clarinet and a two-tone whistle, which is often used by schoolboys. Very upbeat, a superior song. The song ending is the discovery of ‘The Plant’ and is an appropriately mysterious, tender and fragile mix of strings and a horn.
-
The Spaceship. Yet another song with contrasting moods. Mysterious strings capped by sqwaking horns, followed by the chase scene and landing. Pounding drums, loud tubas, and a kind of rinky-dink horn section signal the arrival of the ship. The tubas transit into sounds of the probe ship’s motors winding down in the movie, but on the cd they made it into the sound of fireworks, oddly, one of the few times on the cd where you hear sounds that are not to be found in the movie.
-
Eve. Same as #22.
-
Thrust. Another mysterious tune as Eve surveys the landscape for perhaps the 700th time, with Wall-E at a safe distance in pursuit. The music is quiet, quiet drums, haunting strings and odd noises (seems to be a Newman specialty, lol). A good piece before the 1st meeting.
-
Bubble Wrap. Flutes, harpsichord? and other instruments used to make a candy sound, as Wall-E shows off his knick-knacks to Eve. Unfortunately, the masterful sound when Eve first enters the truck and Wall-E turns on the lights isn’t included on the cd. It consisted of about 10 seconds of quivering violins. Why omitted? It was a jaw dropping moment of movie magic.
-
La Vie En Rose. Fortunately we hear this song instead of the extremely well known one by Louis Armstrong,Hello Dolly itself. Some people like the rather loud horns at the end, which sound odd for this movie. I will agree with others here that the horns should have been cut; when I play this in public people yell at me to turn it off. But the earlier part of the song is very nice, the vocals especially.
-
Eye Surgery. Brief. Delicate strings. Adequate.
-
Worry Wait. Sounds a bit like the climax without the crashing piano on Sergeant Pepper, followed by anticipation decaying into some of the most forlorn music ever composed for a movie. This is when Eve encapsulates.
-
First Date. This was played at the Golden Globes. A very upbeat tune, which actually has vocals(but no lyrics), not very common outside of Hello Dolly on this record. Nice use of flutes, piano and a panoply of instruments. This song isn’t usually listed amongst the favorites, but its very good. Stanton wanted at first to use B.J. Thomas’ Raindrops Keep Falling on My Head here, once rated the 15th most popular song of our time. But our composer thought he could come up with something original of his own. A worthy effort.
-
Eve Retrieve. Begins with track #2 and transits into the chase and launch. The most bombastic tune on the record. Not sure whether I’m hearing the sound of a spaceship landing or music at one point. A very good piece.
-
The Axiom. Another masterpiece. Many of our forum members like this one. It’s divided into 2 parts, one outer space and the other is actually the Axiom docking. The last part is fairly good, but it’s the space sequence that is gorgeous. And I’m not talking about the superior visual, this is one of the few times during the movie when Newman surpasses what Pixar came up with. The piece starts with quiet bells harking the stars, followed by a flute. It’s a journey with a number of highlights, each one with a somewhat different arrangement. Of course, violins are dominant, it’s outer space! The peak moment is when Wall-E’s disturbance of the icy rings of Saturn transits visually into a spiral galaxy, a very clever device, and Newman used both violins and horns to savor it. I like especially the ??? instrument just as we see the gas cloud.
-
BnL
-
Foreign Contaminant. A lot of busy work with the bots here and electronic bleeps and sounds. This is also divided into several parts, the second part being the moment ‘The Plant’ is detected.
-
Repair Ward. This has been noted to be out of sequence. Lots of piano and synthesized music. A good piece.
-
72 Degrees and Sunny. This is the music when we first enter the human areas of the Axiom. Another complex piece, but wait, isn’t it reprised later on? Yes it is. Stay tuned.
-
Typing Bot. This is just a part of #3. with a long string at the end (entry to the bridge).
-
Septuacentennial. Short.
-
Gopher. Perfectly conveys the machinations of GO-4.
-
Wall•E’s Pod Adventure. Lots of horns and serious (but not too serious) tones. After all, they had to tone it down for the kiddies. Even here in the music you can detect the manipulative, dark hand of Sigourney Weaver herself.
-
Define Dancing. An excellent song, and it actually has a tune! It’s been nominated for a Grammy (Best Instrumental Arrangement) and is one of the favorites here. It may take a couple listenings to learn to love this piece. But it’s superbly arranged, a cascade of waterfalls. It begins with strings and is carried by violins, even quiet tambourines. It’s too bad that Peter Gabriel’s tune is more accessible to the masses and gets the nominations. Remember both this song and ‘Down to Earth’ were done by Gabriel/Newman. But I suspect Newman did most of the work on this one. Edit: today this song was being played when I walked into a local bookstore. The man at the counter had just seen the movie: “it was grand!” His daughter had seen it 4x and bought the dvd.
-
No Splashing No Diving. Another tune with different moods. Lots of synthesized music here, or instruments with unpronounceable names. The first part of this reprises track #7.
-
All That Love’s About. A wonderful song, regrettably brief. It’s the movie’s love theme, played at least 5 times thruout, including the 2 peak moments of the movie. Each time it’s used, it is a different length. Usually, it starts with a flute. If butterflies make a sound, this would be it. Then violins evoking a sweet, tender feeling. It’s so elusive, you might think of another song or miss it completely. For this reason, it doesn’t rate very high in polls or downloads, but with 5 appearances it’s a very important part of the movie, and very beautiful too…
-
M-O. The feeling conveyed is that of an excursion. Lots of weird beeps and mechanical sounding noises. Edit: Virtually same as track #16, Repair Ward.
-
Directive A-113. Starts off with an apprehensive tone and gradually transits into heavy strings including one of those “what is that?” instruments with a grating metallic sound. Ends with an authoritative action by the Captain.
-
Mutiny. Almost angelic tone when the boot gets rescued by Wall-E as he rises up the chute. Blaring horns announce the devious doings of Auto and GO-4. There are even twisted violin sounds that you’ve heard in a few horror movies, as Eve goes back down the chute.
-
Fixing Wall•E. This uses the xylophone and quiet strings to great effect, as Eve plays nurse to our damaged hero. It’s very sad, and several forum members have shown a liking to it. There are actually 3 parts to this track. The second part reprises #24. Part 3: as the course of action dawns on Eve, first a flute, then steadily the beat picks up when out come the marching drums and horns as the trio have made their resolution and are ready for action. An excellent track overall. Since this is one of the two peaks of the entire movie, the synergy with the animation accomplishes a tremendous effect. Imagine: sympathy, love, enlightenment and resolve all in one package.
-
Rogue Robots. Very nice and loud horns here. The tempo changes several times from guarded to bombastic. Newman must have been in a tizzy trying to make sense out of Stanton’s fits and starts.
-
March of the Gels. Same song as track #17, but jazzed up and much louder. A very good track. Turn it up!
-
Tilt. More marching drums and cymbals and busy horns heavy with expectation.
-
The Holo-Detector. The glittering chimes and strings when the holo detector is activated well serves the mood.
-
Hyperjump. More anticipation, this time by Hal, and the spectacular landing animation is perfectly matched by Newman’s music, much of which is a reprise of the probe ships launch, track #12.
-
Desperate Eve. Lots of tones of urgency and busy work by Eve while Hal waits impatiently. The track starts with several horns corked? not sure the device used to give them a sqwaky, sort of ‘cheap’ sound. (Edit: this first 8 seconds of the track is the same as the beginning of track #21.) The busy work following uses a lot of strings and some sort of pitter-patter instrument.
-
Static. This is immediately after EVE ‘fixes’ our hero in the truck. Begins with 6 very hopeful flute notes with quiet strings holding a note in the background that evoke anticipation. The notes are in sets of 3, with rising notes, and the second set starts out higher than the first. A superb economy of effort. Followed by a silence where everyone held their breath in the theaters. Then a reprise of the sad dompteur xylophone from track #28. Another superb directorial and musical effort.
-
It Only Takes A Moment. The second Hello Dolly track and the best part of the song is chosen for inclusion into this movie.
-
Down to Earth. One of the most accessible tracks from the album, worked on by both Peter Gabriel and Newman, it begins the credits. The Soweto Choir provides a rousing highlight. This ‘world music’ is the song being put forward to receive nominations, and it’s in the top group of best liked on this forum. Some forum members have criticized the lack of abstractness in the lyrics. Gabriel is supposed to be Stanton’s favorite pop artist. I feel this song is good, but pedestrian.
-
Horizon 12.2. Played during the last part of the credits. Its first part is dominated by a mandolin?, with odd bleeps in the background that complement the bots on the screen being ponged around. Midway, a rearrangement of the Wall•E truck theme from the end of track #2 is overlayed, using a piano. Several forum members like this song for its mystery. It’s been the subject of great interest here as to where its parts come from and the final verdict isn’t in yet. Very good track. Here is a comment made by a reviewer at Amazon.com: “a happiness that seems to arise from a lot of unhappiness, like a lotus flower rising from a pond of tears”
Overall Newman has come up with a minor masterpiece. I would rate the soundtrack at about a fourth or fifth of what makes this a great movie, even more at the peak moments where Stanton told him to dazzle, and he exceeded his expectations. This soundtrack, which has a lot of ‘classy’ strings, contrasts with most of the other Pixar films, which have lots of ‘jazzy’ numbers. Films from the second golden age of Disney pictures are saturated with musical numbers. Many ‘experts’ on film say that music is an accompaniment to the acting/story/animation and should not exceed it. That the music is subservient to the animation and should not really be singled out or noticed much. But with repeat viewings, the quality of this particular composition really comes out, shines. This may be because about 30% of our brains process visual input, while only about 10% is auditory. It just takes longer to process the meaning of the music, and that’s ok with our many repeat viewings of Wall-E.
‘Good’ music is usually abstract: it doesn’t apply to just one obvious situation. We hear a good composition and we say “oh, what is that, it reminds me of something”, and the tune bounces around in our heads for the next few days. We process it and it helps us understand the world around us. That’s similar to what the film’s producer, Lindsey Collins, said about Thomas Newman’s music and the quirky instruments he uses to get just the right sound.
There are at least 11 tracks here that contain parts of other tracks; this in addition to repeats of POYSC and the love theme:
5->22; 2->12; 3->18; 7->23; 16->25; 24->28; 17->30; 12->33 ; 21->34; 28->35; 2->38
XXXXXX Under Construction XXXXX, still finding things!
I believe “Directivo” is from a Latin-based or romance language (French Italian Spanish etc).
If I’m thinking of the right place, it looks to me like there was a sandstorm. So those would be sand grains.
The evacuation module exploded around him, due to the vacum of space and the extreme pressure differences everything was sucked from around him and hurled out into oblivion.
As said by Andrew Stanton: We know we’re annoying a lot of perfectionists here by allowing there to be sound in space, but we felt it necessary. (Not an exact quote but something to that effect.)
Actually, he implies that what seems to be a CPU or possibly some memory unit is broken.
He wasn’t low on energy (I seem to remember that he was at about 50%-75% before Gopher shocked him) my theory is that Gopher’s shock caused a short circuit in his power system, which then later required that he recharge.
I’m pretty sure I’m quoting my answer from either the script or another part of this forum, but here goes (in the order that she says it):
- Weisung (German)
- Meirei (命令) (Japanese)
- I honestly don’t know this one. The script says Swahili, but…
according to IMDB she spoke Huttese a.k.a. the language of Jabba the Hutt of Star Wars. The mentioning of a particular episode (6) in the IMDB page also suggests that Jabba actually said that word himself. Sigh…if only i had a copy of it right now. I would totally watch the entire episode all over again to confirm/disprove this claim. hint
I loved reading your summary of the soundtrack, DarkHandOfSigourneyWeaver. It was a beautiful read.
With track 3, “WALL•E”. I’ve always thought the whistle (the background whistle, not the main melody) is meant to represent space. It always reminds me of something flying through space. It could also represent the wind, where when it’s so quiet and nothing else is around you can hear the wind whistle.
I can hear the similarity between Sgt. Pepper (which happens to be the only non-soundtrack CD I own) and the crescendo (probably used that word in the wrong context) of “Worry Wait”. To me the build-up represents things going out of WALL•E’s control, as well as confusion afterwards and during when the plant is being taken away. It’s one of my favourite tracks, but dayum, that is going to be one hard track to play unless you happen to have access to an orchestra.
“First Date” was played at the Golden Globes? What?! I have to get onto this. I’ve always thought this sounds like lovey-dovey elevator music. Very over the top, in a good way.
Yes! You hear the space ship sound effect on “EVE Retrieve”, it’s not your imagination. At first I thought I was going crazy, till I realised they’d mixed in some sound effects with the soundtrack. If you listen closely you can also hear Hal squeaking at one point, of which I used to think it was one of my cats till I realised. 
I’ll respond to your other write-ups later…
Even from when I first saw the trailer, I thought he took his “shoes” off, because he had finished a hard day’s work. I suppose both reasons could be correct.
But… but… why would you do that to me and play such a cruel prank? sob
DarkHandOfSigourneyWeaver, haven’t had a chance to comment on this until now, but just wanted to say great post.
- 2815 A.D. A masterpiece. This is the first Tommy Newman song on the record. The harp is used to convey the seriousness of the bleak
Trivial note: if I remember right, it was actually two harps playing that cue.
- First Date. This was played at the Golden Globes. A very upbeat
In my Wall-E scoring post, I mentioned a cue where the orchestra just burst out laughing when they saw what was happening on screen during a playback, but didn’t say what it was at the time due to not giving away any spoilers. Well, this was the cue. It’s a great scene. It’s naturally not going to be among the favorites, but it fit the scene perfectly (it was meant to be kind of corny).
- Eve Retrieve. Begins with track #2 and transits into the chase and
Though not really quoted, with the brass and drums, it seemed to me kind of an original “Also sprach” moment (which is played for a short bit elsewhere in the film)…
- Septuacentennial. Short.
Proof that G-major scales aren’t just for practicing…
- Wall•E’s Pod Adventure. Lots of horns and serious (but not too
This was the cue I was talking about when I said there was one cue that had the perfect name for a Disneyland ride. Note that here, the rhythm is given to the strings (0:35).
- All That Love’s About. A wonderful song, regrettably brief. It’s the love
Makes you wonder how this would’ve been like if there hadn’t been a scene the music needed to match – if this cue could’ve been 4 or 5 minutes long instead of just 35 seconds…
- Mutiny. … sounds that you’ve heard in a few horror movies
That would be a cluster gliss to highest possible note.
Note also that the cellos get to have a lot of fun around 0:49s.
And the french horns get a tritone (the “devil’s interval”) at around 0:54
Excellent post!
Oh goodie, someone besides Rachelcakes1985 responding to my soundtrack posts. You must have been busy. You know, I would have loved posting stuff about the movie and soundtrack last summer, but I found that listening to the cd repeatedly caused my enjoyment of the movie to be deadened. I haven’t heard the cd for 2 months now, exactly, and only watch the movie at best once a month. I’ve noticed that you’re over at the Up subforum lately, miafka. Just 3 months before that movie comes out… I hope to avoid any spoilers and be a nearly complete ‘virgin’ going into the theater. But I almost never post on the other forums here, since came here only because of Wall•E.
I guess the next major thing to do is to post about the dvd, and there is a nice thread already about that since Mitch has done a fairly comprehensive post already, a good base to expand on.
This thread has done nicely, when I first planned it last August, I was happy to get 30-50 responses and 1000-1500 views. Seems like it has just met expectations. It’s still a work-in-progress and under construction, pardon the dust and jackhammers.
I’m wondering how many other people recognized the satellite WALL•E gets stuck on his head the first time they saw it…
[spoil]The first satellite from the USSR, Sputnik 1[/spoil]
First thing I said to my brother when I saw WALL•E for the first time. 
Was Sputnik 1 no the first artificial satellite ever? I spotted it too and it made me giggle, I think there’s a model version in the Captains bedroom too?
I’ve been wondering; why didn’t BnL dump any rubbish on the moon? If they were planning to build an outlet mall there then they must have had frequent travel to and from it and it seems an ‘out of the way’ place to dump stuff.
I was going to say right there that it was probably covered by a Buy ‘n’ Large conservation area but that totally goes against everything Buy ‘n’ Large stands for.
There is a loose robot in the repair ward!! When the doors to the ward open, look to the left on the floor; he’s just bumping into the wall! Also, look to the right on the floor when [spoil]WALL-E fires EVE’s laser.[/spoil] And play the scene in the ward when the robots go to pick up WALL-E frame-by-frame… there is a robot that’s face reminded me of The Iron Giant (one of Pixar’s staff members worked on the movie). It can also be seen when WALL-E and EVE are surrounded by the robots in a square.
I’ve just watched the film again and I’ve spotted something interesting, not sure if this has been said before but, when Wall•e is trapped in the escape pod he doesn’t set the auto-destruct off when he’s hitting the control desk. Go-4 turns it on when he deposits the plant, you can see him reach up with his shoulder thing and push the auto-destruct key. The numbers are already counting down before Wall•e starts hitting things.
There are actually two loose robots in the Repair Ward. [spoil]One slamming up against the wall close to the main door, and the other one you can see spinning in circles (through WALL•E’s vision) as EVE is being transported into the Diagnostics room.[/spoil]
I think they’re let loose because they won’t go anywhere or do anything seriously crazy (like HAN-S or VN-GO); seeing as how one continually rams into the wall and the other is spinning in repetitive circles. 
Halos Nach Tariff: Sorry if this sounds braggy or obnoxious, but I figured that out a long time ago. I guess I’m kind of a WALL•E fanatic; watching the movie a million times until I know like, what every scene means. Okay, yeah, I sound a little braggy here… forgive me, plz… 
little chef
We had noticed either here or at the other ‘Observations’ thread, which is similar to this one, that Wall-E had not touched the auto-destruct button, and that, of course, Go-4 had been the cause of that, but we thought he had programmed it on the computer console in the entry room. So that’s news here that Go-4 had hit the button while inside the pod. Wall-E only taps the button a few times after the sequence is less than 20 sec to go, to possibly toggle it off. Honestly, that button is way too prominent and accessible and should be under glass.
I saw the movie 30x in the theaters and have been trying not to burn out on it, seeing it last at a library spring break presentation with bad lighting. Only seen it 2x on the dvd, and twice at these special screenings for either Academy or the public.
That’s a first too, blac hoel. It was Sputnik. Out of all the satellites Wall-E could hit… amazing!
[Edit: Actually I think all of the Sputnik probes sent up into their low orbits burned up within a couple of months, according to the wiki.]