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 WALT DISNEY PICTURES Set Modeling Lead . . . . . . . KRISTIFIR KLEIN
Presents Set Shading
Lead . . . . . . . . CHRISTOPHER M. BURROWS

CREDITS
A Set Dressing Lead . . . . . . . DEREK WILLIAMS
PIXAR ANIMATION STUDIOS Crowds Supervisor . . . . . . . . MARK T. HENNE
Rendering Supervisor . . . . . . . SUSAN FISHER
Film
“Down To Earth”
WALL•E Music by Peter Gabriel and Thomas Newman
Lyrics by Peter Gabriel
Performed by Peter Gabriel,
Directed by . . . . . . . . . . . ANDREW STANTON Featuring The Soweto Gospel Choir
Produced by . . . . . . . . . . . . . . . . . JIM MORRIS
Co-Produced by . . . . . . . . LINDSEY COLLINS Casting by . . . . . . . . . . . . . . . . . KEVIN REHER
Executive Producer. . . . . . . . JOHN LASSETER NATALIE LYON
Associate Producer. . . . . . . THOMAS PORTER
Original Score Composed & CAST
Conducted by . . . . . . . . . THOMAS NEWMAN
Original Story by . . . . . . ANDREW STANTON WALL•E . . . . . . . . . . . . . . . . . . . . BEN BURTT
PETE DOCTER Eve. . . . . . . . . . . . . . . . . . . . . ELISSA KNIGHT
Screenplay by . . . . . . . . . ANDREW STANTON Captain . . . . . . . . . . . . . . . . . . . . JEFF GARLIN
JIM REARDON Shelby Forthright,
Production Designer . . . RALPH EGGLESTON BnL CEO . . . . . . . . . . . . . . . . FRED WILLARD
Film Editor . . . . . . . . . . STEPHEN SCHAFFER Auto . . . . . . . . . . . . . . . . . . . . . . . MACINTALK
Supervising Technical M-O . . . . . . . . . . . . . . . . . . . . . . . . BEN BURTT
Director . . . . . . . . . . . . . NIGEL HARDWIDGE John . . . . . . . . . . . . . . JOHN RATZENBERGER
Supervising Animators . . . ALAN BARILLARO Mary. . . . . . . . . . . . . . . . . . . . KATHY NAJIMY
STEVEN CLAY HUNTER Ship’s Computer . . . . . SIGOURNEY WEAVER
Director of Photography:
Camera. . . . . . . . . . . . . . . . . . JEREMY LASKY Visual
Director of Photography: Consultants . . . . ROGER DEAKINS, A.S.C., B.S.C.
Lighting. . . . . . . . . . . . DANIELLE FEINBERG DENNIS MUREN, A.S.C.
Sound & Character
Voice Designer . . . . . . . . . . . . . . . BEN BURTT STORY
Production Manager . . . . . ANDREA WARREN
Character Art Director . . . . . JASON DEAMER Story Supervisor. . . . . . . . . . . . JIM REARDON
Sets Art Director . . . . . ANTHONY CHRISTOV Story Manager . . . . . . . . . . . . . SABINE KOCH
Shader Art Director . . . . . . . . . . . BERT BERRY
Graphics Story Artists
Art Director . . . . MARK CORDELL HOLMES KEVIN O’BRIEN MAX BRACE
Character Supervisor . . . . . . . . . . . . BILL WISE DEREK THOMPSON BRIAN FEE
Sets Supervisor. . . . . . . . . . . . DAVID MUNIER NATHAN STANTON ROB GIBBS
Effects Supervisor. . . . . DAVID MACCARTHY SCOTT MORSE RONNIE DEL CARMEN
Technical JEFF PIDGEON JUSTIN WRIGHT
Pipeline Supervisor . . . . . . . . . JOHN WARREN ANGUS MACLANE ALEXANDER WOO
Character TED MATHOT PETER SOHN
Modeling Lead. . . . . . . JASON BICKERSTAFF JAMES S. BAKER KYLE SHOCKLEY
Character
Shading Lead . . . . . . . . . . ATHENA XENAKIS

1
 Digital Boarding Art Coordinators . . . . . . . . . . . . . . ZOE BOXER
& Effects. . . . . . . . . . . . DOUGLASS CARNEY BECKY NEIMAN
CHRIS O’DOWD LEE RASÉ
CREDITS
Additional Art Production Assistant. . . . BRIAN LONDON
Digital Boarding . . . . . . . . . PATRICK SIEMER
Script EDITORIAL
Supervisor. . . . . . . . STACEY HENDRICKSON
Story Editorial Managers . . . . . . . . . . NOELLE PAGE
Coordinator. . . . . . . . KATE RANSON-WALSH COLIN BOHRER
Story Production
Assistant . . . . . . . . . . . . . . MAGGIE WEIDNER Second Film Editors . . . . . . . . AXEL GEDDES
JASON HUDAK
ART NICHOLAS C. SMITH, A.C.E.
First Assistant
Art Manager. . . . . . . . . . . . GILLIAN LIBBERT Editor. . . . . . . . . . ANTHONY J. GREENBERG
Second Assistant
Production Artists Editors. . . . . . . . . . . KEVIN ROSE-WILLIAMS
DANIEL ARRIAGA NELSON “REY” BOHOL RENÉE STEEN
CHIA HAN JENNIFER CHANG ROBIN COOPER TESSA SWIGART
TONY FUCILE DANIEL HOLLAND Additional Editing . . . . . . . . KEVIN NOLTING
LORI KLOCEK NOAH KLOCEK Editorial Production Assistant . . JESS FULTON
ROBERT KONDO ALBERT LOZANO Additional Sound Design . . . E.J. HOLOWICKI
ANGUS MACLANE TEDDY NEWTON Additional
KRISTIAN NORELIUS JAY SHUSTER Editorial Support . . STACEY HENDRICKSON
Production Illustrator . . . . . . . . . . . . JOHN LEE
Motion Graphics CAMERA & STAGING
Designer . . . . . . . . . . . . . . PHILIP METSCHAN
Motion Graphics Layout Manager. . . . . . . RICHMOND HORINE
Technical Lead . . . . . . . . SANDRA KARPMAN
Matte Painter. . . . . . . . . . . . . . PAUL TOPOLOS Layout Artists
Matte Paint Technical Lead . . PATRICK JAMES ROBERT ANDERSON MATT ASPBURY
Sculptor . . . . . . . . . . . . . . . . . JEROME RANFT SHAWN BRENNAN ANDREW CADELAGO
Graphic Artists . . . . . . . . . . . . CRAIG FOSTER SIMON DUNSDON ROBERT KINKEAD
CATHERINE M. KELLY SUKWON PARK MARK SHIRRA
ELLEN MOON LEE MATTHEW SILAS BOB WHITEHILL
BECKY NEIMAN DEREK WILLIAMS SYLVIA GRAY WONG
Digital Painters Post-Animation
GLENN KIM MARIA LEE Camera Artist . . . . . . . . . . . . . . . CRAIG GOOD
ERNESTO NEMESIO LAURA PHILLIPS Layout Coordinators. . . . . . . . TRISH CARNEY
JAPETH PIEPER BILL ZAHN KEARSLEY HIGGINS
Graphics & Paint
Technical Artists. . . . . . . . . . . . CHUCK WAITE ANIMATION
JAY CARINA
Development Artists . . . . . . . . . . . SHAUN TAN Animation Manager . . . . . . . . . JAKE MARTIN
BRUCE ZICK Directing Animator . . . . . . ANGUS MACLANE
RICARDO DELGADO Animation Character
GEEFWEE BOEDOE Development . . . . . . . . . . . . VICTOR NAVONE
GEORGE HULL DAVID DEVAN
Additional
Art Management . . . . . . . . . . TRISH CARNEY

2
 Animators CHARACTERS
CARLOS BAENA RODRIGO BLAAS
ADAM BURKE SHAUN CHACKO Character Managers . . . . . . . ADRIAN OCHOA

CREDITS
LOUIS CLICHY BRETT CODERRE JAKE MARTIN
JONATHEN COLLINS DON CRUM
PATRICK DELAGE DAVID DEVAN Character Modeling & Articulation Artists
EVERETT DOWNING, JR. DOUG FRANKEL LOU HAMOU-LHADJ RICHARD HURREY
TIMOTHY HITTLE GUILHERME SAUERBRONN JACINTO KEN LAO AUSTIN LEE
NANCY KATO PATTY KIHM MARK PIRETTI BILL SHEFFLER
KEN KIM JAIME LANDES SAJAN SKARIA JACOB SPEIRS
JOHN CC LEE WENDELL LEE IAN STEPLOWSKI MARK THERRELL
HOLGER LEIHE AUSTIN MADISON BRIAN TINDALL MICHAEL TODD
MICHAL MAKAREWICZ AMBER MARTORELLI AUDREY WONG
DAN MASON PAUL MENDOZA
SARAH MERCEY-BOOSE CAMERON MIYASAKI Character Shading Artists
VICTOR NAVONE DANIEL NGUYEN DAVID BATTE STEPHAN VLADIMIR BUGAJ
KEVIN O’HARA BRET PARKER TRENT CROW SARAH FOWLER DELUNA
BRETT PULLIAM NICKOLAS ROSARIO PATRICK GUENETTE BRANDON ONSTOTT
ROGER ROSE BRETT SCHULZ MAXWELL PLANCK KEITH STICHWEH
BOB SCOTT DOUG SHEPPECK
RAPHAEL SUTER JEAN-CLAUDE TRAN QUANG THIEU Character Interns. . . . . . . . . . . . . . . . . DON BUI
ROB DUQUETTE THOMPSON KRISTOPHE VERGNE SETH FREEMAN
IAN WHITE KUREHA YOKOO
RON ZORMAN CROWDS & SIMULATION

Fix Animation Lead . . . . . . . ANDREW BEALL Crowds & Simulation

Fix & Additional Manager . . . . . . . . . . . . . KATHLEEN RELYEA
Animation . . . . . . . SEQUOIA BLANKENSHIP
CHRISTOPHER CHUA Crowds & Simulation Artists
CURRAN W. GIDDENS LENA PETROVIĆ CHRIS LAWRENCE
BRUCE KUEI JIAYI CHONG JOSH ANON
TOM ZACH PAUL KANYUK GEORGE NGUYEN
Crowds Animation Lead. . . . . . . . . ARIK EHLE FRANK AALBERS MICHAEL LORENZEN
Crowds & MATTHEW SILAS
Additional Animation . . . . . . . . SIMON ALLEN Tailor . . . . . . . . . . . . . . . . . . . . CARMEN NGAI
DOVI ANDERSON Crowds
STEPHEN WONG Sequence Lead . . . . . . . ZIAH SARAH FOGEL
Additional Animators Crowds Rendering Optimization . . DAVID RYU
JASON BOOSE TIM CRAWFURD Additional Simulation . . CHRISTINA GARCIA
IKE FELDMAN ANDREW GORDON Characters & Crowds
KAREN KISER MATT MAJERS Coordinator. . . . . . . . . . . ALICE CLENDENEN
STEVE MASON GINI CRUZ SANTOS Additional Crowds
ANDREW L. SCHMIDT MICHAEL WU Production . . . . . . . . . . . RICHMOND HORINE
Animation Shot Support LAUREN TOPAL
Technicians. . . . . . . . . . . DANIEL CAMPBELL
TODD R. KRISH INVENTORY
Animation Coordinators . . . . . . . DAVID PARK
DANIEL A. GOODMAN Sweatbox Managers . . . . . . . . . SABINE KOCH
CATHLEEN CARMEAN KEARSLEY HIGGINS
Sweatbox Coordinator. . . . . KESTEN MIGDAL

3
 SETS Lead Lighting Artists . . . . JONATHAN PYTKO
MICHAEL SPARBER
Sets Previs/Modeling Master Lighting Artists
CREDITS
Manager. . . . . . . . . . . . MARY VAN ESCOBAR LLOYD BERNBERG TIM BEST
Sets Shading/Dressing BRIAN BOYD STEFAN GRONSKY
Manager . . . . . . . . . . . . MARC SONDHEIMER JAE H. KIM LUKE MARTORELLI
ANDREW PIENAAR SUDEEP RANGASWAMY
Previsualization Artists . . . . . MATT ASPBURY SONJA MARWOOD MARIA YERSHOVA
BRIAN CHRISTIAN Shot Lighting Artists
SIMON DUNSDON JEREMY BIRN LIZ KUPINSKI CARTER
ROBERT KINKEAD YE WON CHO CHARU CLARK
Sets Technical Developer . . . . . . . . ARUN RAO KEITH CORMIER ANGELIQUE REISCH
Sets Model Optimization. . . . DALE RUFFOLO CHRIS FOWLER JULIE GARCIA
Modeling Artists IAN HOUSE SUNGYEON JOH
MARK ADAMS NEIL BLEVINS JOSÉE LAJOIE JESSICA GIAMPIETRO MCMACKIN
BRIAN CHRISTIAN RICHARD HURREY IAN MEGIBBEN EILEEN O’NEILL
JAE H. KIM IVO KOS KIMBERLY ROSS DALE RUFFOLO
MIKE KRUMMHOEFENER MARK PIRETTI AFONSO SALCEDO JULIEN SCHREYER
EVAN PONTORIERO CHRIS SANCHEZ DAVID SHAVERS KENNETH SULLIVAN
GARY SCHULTZ KEVIN SINGLETON KYOUNG LEE SWEARINGEN ESDRAS VARAGNOLO
SUZANNE SLATCHER RICHARD SUN JEREMY VICKERY
GASTÓN UGARTE CHUCK WAITE Lighting Consultant . . . . SHARON CALAHAN
RAYMOND V. WONG Lighting Optimization
Engineers. . . . . . . . . . CARL NAI FREDERICK
Senior Shading Artist . . . . . CHRIS BERNARDI BRYAN CLINE
Shading Artists Illumination Engineer . . . . . JACOB KUENZEL
ALEXANDER ADELL ALEC BARTSCH Lighting
NEIL BLEVINS MARC COOPER Coordinators . . . . . . . KATE RANSON-WALSH
NOAH HORNBERGER THOMAS JORDAN ERIC ROSALES
MICHAEL KILGORE STEPHEN KING
EMMA WEYERMAN MERRELL J. D. NORTHRUP EFFECTS
ANDREW PIENAAR JOSH QUALTIERI
KEITH STICHWEH RENEE TAM Effects Manager . . . . . . . . . . . . . . BRAD KANE
ANDREW WHITTOCK Effects Sequence Leads . . . CHRIS CHAPMAN
JASON JOHNSTON
Set Dressing Artists . . . . CHRISTINA GARCIA KEITH DANIEL KLOHN
ALISON LEAF FERDI SCHEEPERS
SOPHIE VINCELETTE Effects Artists
FRANK AALBERS DAVID BATTE
Sets Coordinators. . . . . . . . . . . SUSAN FRANK JUAN J. BUHLER TOLGA GÖKTEKIN
ERIC ROSALES SETH HOLLADAY CHRIS KING
Sets Production Assistant. . . . LAUREN TOPAL MACH TONY KOBAYASHI TOM NIXON
Sets Interns . . . . . . . . . JONATHAN FARRELL ENRIQUE VILA BILL WATRAL
MICHAEL JUTAN BRAD WINEMILLER
SHELDON SERRAO Effects Interns . . DIEGO GARZÓN SANCHEZ
KURT PHILLIPS
LIGHTING Lighting & Effects Production
Assistant. . . . . . . . . . . SARAH CHIAPPINELLI
Lighting Manager . . . . . . . . . . . . . . JENNI TSOI
Technical Lighting Lead . . . . . . . . ERIK SMITT

4
 RENDERING & OPTIMIZATION Additional Production
Support. . . . . . . . . . . . . . VICTORIA JASCHOB
Rendering Manager . . . . . . . . . PAUL MCAFEE DOUG NICHOLS

CREDITS
ESTHER PEARL
Rendering & Optimization DAVID WILLNERD
Artists . . . . . . . . . . . . . . . . . . . JOSHUA JENNY THOMAS QUINTAS
ALEXANDER KOLLIOPOULOS
NICK LUCAS In Loving Memory of
ALEXANDER TIMCHENKO Justin Wright
Starfields 1981 – 2008
Development . . . MARK VANDEWETTERING
Rendering Coordinator . . ALICE CLENDENEN IMAGE MASTERING
Rendering Intern . . . . . . . . . . . . . ERIC PEDEN
Manager . . . . . . . . . . . JOSHUA HOLLANDER
TECHNICAL DEVELOPMENT Lead Engineer . . . . . . . . . . . . . . ROD BOGART
Administration Manager . . . BETH SULLIVAN
Technical Image Mastering Coordinator . ROBIN YOUNG
Development Lead . . . . . . . LUCAS R. A. IVES Media Control Manager ROBERT TACHOIRES
Technical Development Color Grading Operators . . DAVID LORTSHER
Coordinator . . . . . . . . . MARY VAN ESCOBAR SUSAN BRUNIG
Media Control
Development Engineers Transfer Operators. . . . . . . . . . ANDRA SMITH
BRIAN SMITS FRANK AALBERS GLENN KASPRZYCKI
FAREED BEHMARAM-MOSAVAT FERDI SCHEEPERS JEFF WHITTLE
MAXWELL PLANCK KURT FLEISCHER RICHARD PINKHAM
CHRIS CHAPMAN JIAYI CHONG Camera Operators . . . . . . . . . . . . . . . JEFF WAN
KEITH DANIEL KLOHN MICHAEL K. O’BRIEN MARK DINICOLA
MARTIN NGUYEN CHRIS SCHOENEMAN Projection . . . . . . . . . . . . . . JOHN HAZELTON
DAVID WALLACE TIMOTHY KENNELLY
Technical Interns. . . . . . . NATHAN MATSUDA Software Engineering . . . . . DOMINIC GLYNN
MANISH SHARMA DREW TTV ROGGE
HEE SOO LEE
PRODUCTION RICK SAYRE

Production POST PRODUCTION

Finance Lead . . . . . . . . MARC SONDHEIMER
Assistant to the Post Production
Director . . . . . . . MARGUERITE K. ENRIGHT Supervisor . . . . . . . . . . . . . . . PAUL CICHOCKI
Assistant to the Producers . . . DANIEL COMBS Director of Editorial &
Assistant Production Post Production. . . . . . . . . . . . . . BILL KINDER
Accountants. . . . . . KIRSTEN AMES STAUBLI International Managers . . . . . CYNTHIA LUSK
CHRISTOPHER ‘STU’ STEWART MARY VAN ESCOBAR
Production Office Manager . TRICIA ANDRES International
Production Technical Lead . . . . . . . . . . DOMENIC ALLEN
Office Assistants . . . . . . . . MEAGAN MILLER International Editorial. . . . DAVID H. TANAKA
STEPHEN KRUG International
MAX SACHAR Art Direction . . . . . . . . . . . SUSAN BRADLEY
PAUL BAKER Post Production
Additional Production Supervisor, Video . . . . . . CYNTHIA SLAVENS
Management. . . . . . . . . . . . JULIET POKORNY Post Production Manager . . . . ERIC PEARSON

5
 Post Production Software Development
Coordinator. . . . . . . . . . . . . . NOAH NEWMAN JIM ATKINSON DAVID BARAFF
Management MALCOLM BLANCHARD STAS BONDARENKO
CREDITS
Assistant . . . . . . . . . KATELIN C. HOLLOWAY JUEI CHANG BENA CURRIN
Post Production GORDON CAMERON ADAM GABBERT
Assistant. . . . . . . . . . . . . . FREESIA PEARSON THOMAS HAHN JAMIE HECKER
Original Dialogue Mixers . . . . . . VINCE CARO GEOFFREY IRVING BEN JORDAN
DOC KANE RYAN KAUTZMAN MANUEL KRAEMER
Additional DANIEL MCCOY GARY MONHEIT
Dialogue Recording. . . . . BOBBY JOHANSON SHAWN NEELY MICHAEL K. O’BRIEN
Supervising Sound Editor BRIAN M. ROSEN MICHAEL SHANTZIS
& Mixer . . . . . . . . . . . . . . . . . . . . . BEN BURTT KIRIL VIDIMCE CHRISTINE WAGGONER

END TITLES Infrastructure

Direction . . . . . . . . . . . . . . JIM CAPOBIANCO BEAU CASEY JUNE FOSTER
Production Management . . . . . . SARA MAHER RITA GARCIA SUSAN BOYLAN GRIFFIN
GALYN SUSMAN BJÖRN LEFFLER MARÍA MILAGROS SOTO
Design Lead . . . . . . . . . . . . . . . SCOTT MORSE DAN WEEKS
Title Design . . . . . . . . . . . . SUSAN BRADLEY
Animation . . . . . . . . . . . . . ALEXANDER WOO PREPRODUCTION ENGINEERING
BOB SCOTT
KRISTOPHE VERGNE Lead. . . . . . . . . . . . . . MICHAEL B. JOHNSON
Background Paint . . . . . . . . . . . . . . . JOHN LEE
After Effects. . . . . . . . . . . . . . CHRIS O’DOWD Team
CATHERINE M. KELLY BRENDAN DONOHOE RALPH HILL
PHRED LENDER JOSH MINOR
RENDER PIPELINE GROUP RUDRAJIT SAMANTA

Manager . . . . . . . . . . . . . . . . . . . . . . ANNE PIA Post Production Sound Services by

Technical Lead. . CHRISTOPHER C. WALKER SKYWALKER SOUND
A LUCASFILM LTD. COMPANY,
Team MARIN COUNTY, CALIFORNIA
KATE CRONIN JOSH GRANT
DON SCHREITER ERICK TRYZELAAR Supervising
MIKE WALLACE ADAM WOOD-GAINES Sound Editor . . . . . . . . . . . MATTHEW WOOD
Re-Recording Mixers. . . . . . . . . . TOM MYERS
PRODUCTION ENGINEERING MICHAEL SEMANICK
Sound Effects Editors . . . . . TERESA ECKTON
Team Leads . . . . . . . F. SEBASTIAN GRASSIA DUSTIN CAWOOD
ALLAN POORE AL NELSON
BILL POLSON ADR Editor . . . . . . . . . . . . . . STEVE SLANEC
GUIDO QUARONI Foley Editors . . . . . . . . . . . . . KEVIN SELLERS
SAM WIJEGUNAWARDENA JUAN PERALTA
Assistant Supervising
Sound Editor . . . . . . . . . . . . . . COYA ELLIOTT
Foley Artists . . . . . . . . . . . . . . . . JANA VANCE
DENNIE THORPE
Foley Mixer . . . . . . . . . . . . . FRANK RINELLA
Foley Recordist. . . . . . . . . . . SEAN ENGLAND
Mix Technician . . . . . . . . . . . . TONY SERENO

6
Digital Transfer . . . . . . . JONATHAN GREBER “Put On Your Sunday Clothes”
CHRISTOPHER BARRON “It Only Takes A Moment”
JOHN COUNTRYMAN Written by Jerry Herman

CREDITS
Courtesy of Twentieth Century Fox
Additional Voices Film Corporation
LORI ALAN BOB BERGEN
JOHN CYGAN PETE DOCTER “La Vie En Rose”
PAUL EIDING DON FULLILOVE Written by Louiguy, Edith Piaf and Mack David
JESS HARNELL SHERRY LYNN Performed by Louis Armstrong
MICKIE MCGOWAN LARAINE NEWMAN Courtesy of The Verve Music Group
TEDDY NEWTON JEFF PIDGEON Under License from Universal Music
JAN RABSON LORI RICHARDSON Enterprises
ANDREW STANTON JIM WARD
COLETTE WHITAKER “Don’t Worry, Be Happy”
Written and Performed by Bobby McFerrin
MUSIC Produced by Linda Goldstein
Courtesy of Original Artists
Recorded & Mixed by . . . . . . TOMMY VICARI
Orchestra Recorded by . . . . . ARMIN STEINER “Also Sprach Zarathustra”
Orchestrations by . . . . . THOMAS PASATIERI, Written by Richard Strauss
J.A.C. REDFORD
Music Editor . . . . . . . . . . . . BILL BERNSTEIN “BnL Jingle”
Music Contractor . . . . . . . . . . LESLIE MORRIS Music by Thomas Newman
Music Preparation . . JULIAN BRATOLYUBOV Lyrics by Bill Bernstein
Assistant Music Editor . . . MICHAEL ZAINER
Digital Audio . . . . . . . . . . . . . . . . LARRY MAH LIVE ACTION
Executive Music Producer. . . CHRIS MONTAN
Music Supervisor . . . . . TOM MACDOUGALL Director of
Music Production Manager. . . ANDREW PAGE Photography . . . . . . . . . MARTY ROSENBERG
Music Pixar Visual Effects
Business Affairs . . . . . DONNA COLE-BRULÉ Supervisor . . . . . . . . RICHARD HOLLANDER
Music Production Line Producer . . . . . . . . . . GILLIAN LIBBERT
Coordinator . . . . . . . . . . . . . ASHLEY CHAFIN Pixar Digital Production
Music Production Assistants . . . JILL IVERSON Supervisor . . . . . . . . . . . . . . . . JOHN WARREN
SIOBHAN SULLIVAN

Music Recorded & Mixed at

Sony Pictures Scoring Stage,
Newman Scoring Stage-Twentieth Century Fox
Studios, The Village, and Paramount Pictures
Scoring Stage M

“Down To Earth”
Produced by Peter Gabriel
L.A. Sessions Produced by Thomas Newman
Recorded by Richard Chappell
Mixed by Tchad Blake

7
 Live Action Production by Pixar Senior Creative Team
KERNER OPTICAL MICHAEL ARNDT PETE DOCTER
CHRISTOPHER HALL ZOE BOXER GARY RYDSTROM BRAD BIRD
CREDITS
JANET NIELSEN FRED MYERS JOHN LASSETER LEE UNKRICH
ALICE TOMPKIN JOHN GAZDIK BRENDA CHAPMAN BOB PETERSON
RANDY JONSSON NELSON STOLL
SCOTT KINSEY BRIAN COPENHAGEN PIXAR STUDIO TEAM
MICHAEL MEIER FRANK STRZALKOWSKI
ORLANDO ORONA STEVE CARDELLINI A/V Engineering
TODD KUHN TOM CLOUTIER DANIEL ANNEREAU CHRIS COLLINS
DON HENDERSON CHRIS SHELLENBERGER CHRISTOPHER FEHRING BOB FREY
BERNIE DEMOLSKI CHRISTINE BLOOMINGDALE GRANT GATZKE WARREN LATIMER
STEVE COLLINS DAVE MURPHY EDGAR QUIÑONES M.T. SILVIA
BUCK O’HARE JOHN DUNCAN ALEX STAHL KELLI TOWNLEY
BARBARA KASSEL JUDY FEIL JASON WATKINS
NANCY SERVIN GRETCHEN DAVIS Administration & Application Support
YVETTE RIVAS JENNIFER TREMONT ALEJANDRO AGUILAR TLALOC ALVAREZ
DIANE HARRELL DANA BONILLA RICKY DER CASSANDRA FALBY
JAY BEVERLY BLAKE BENHAM MARTY LEW BRITTANY MOORE
MOLLY WELIN HEIDI PARMELEE PETER PLACKOWSKI
MAY PON
NANCY HAYES CASTING Data Management Group
MARLA DELL CASTING MARY ANN GALLAGHER MARK HARRISON
BELLA CUCINA CATERING PETER NYE HEIDI STETTNER
MIKE SUNDY
Live Action Visual Effects by Desktop & Infrastructure
INDUSTRIAL LIGHT & MAGIC NEFTALI “EL MAGNIFICO” ALVAREZ BRYAN BIRD
A LUCASFILM LTD. COMPANY JOHNOEL CUEVAS LARS R. DAMEROW
JAMES G. DASHE ROSS DICKINSON
Visual Effects Supervisor . . . . . . . . . ED HIRSH MILES EGAN EDWARD ESCUETA
Visual Effects Producer . . . . . . . JEANIE KING TYLER FAZAKERLEY ERIK FORMAN
Digital Production REMY GALANG ALISA GILDEN
Supervisor . . . . . . . . . . . . . PATRICK TUBACH JONATHAN HADDEN JAMES HANDELIN
Layout Supervisor . . . . . . BRIAN CANTWELL BETHANY JANE HANSON WARREN HAYS
Visual Effects Editor . . . . . . . . GREG HYMAN JASON HENDRIX DAN HOFFMAN
Digital Paint & Roto LING HSU KENNETH HUEY
Supervisor . . . . . . . . . . . . MICHAEL VAN EPS JASON “JAYFISH” HULL JOSE RICHARD IGNACIO
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8
 Consumer Products Administration & Finance
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9
 Software Development Purchasing & Relocation
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10
 MOBILITY & ROBOTIC SYSTEMS, Computer-Generated Voices
JET PROPULSION LABORATORY Courtesy of Apple Inc.

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Animated on Marionette™ © 2008 Disney Enterprises, Inc./Pixar

All Rights Reserved
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Available from Twentieth Century Fox Original Soundtrack Available on
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Console courtesy of Atari Interactive, Inc.
© 2008 Atari Interactive, Inc.
All Rights Reserved. Used by Permission.

11
 WALL•E the Video Game from
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In Stores Now on Your

Favorite Gaming Systems

Distributed by
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MOTION PICTURES

Created and Produced at

PIXAR ANIMATION STUDIOS
Emeryville, CA

12
 WALL•E
ABOUT THE PRODUCTION

What if mankind had to leave Earth

and somebody forgot to turn off the last robot?

That’s the intriguing and whimsical premise

ABOUT THE PRODUCTION

posed by Disney•Pixar’s extraordinary new
computer-animated comedy set in space,
“WALL•E.” Filled with humor, heart, fantasy,
and emotion, “WALL•E” takes moviegoers on a
remarkable journey across the galaxy and once
again demonstrates Pixar’s ability to create
entire worlds and set new standards for
storytelling, character development, out-of-this-
world music composition, and state-of-the-art
CG animation.
Set in a galaxy not so very far away,
“WALL•E” is an original and exciting comedy
about a determined robot. After hundreds of
lonely years doing what he was built for, WALL•E (Waste Allocation Load Lifter Earth-Class)
discovers a new purpose in life (besides collecting knickknacks) when he meets a sleek search
robot named EVE (Extra-terrestrial Vegetation Evaluator). EVE comes to realize that
WALL•E has inadvertently stumbled upon the key to the planet’s future and races back to
space to report her findings to the humans who have been eagerly waiting aboard the luxury
spaceship Axiom for news that it is safe to return home. Meanwhile, WALL•E chases EVE
across the galaxy and sets into motion one of the most incredible comedy adventures ever
brought to the big screen.
Joining WALL•E on his fantastic journey across the universe 800 years into the future is a
hilarious cast of characters, including a pet cockroach and a heroic team of malfunctioning
misfit robots.
The ninth feature from Disney and Pixar Animation Studios, “WALL•E” follows the studio’s
most recent triumph, “Ratatouille,” which won an Oscar® for Best Animated Feature, garnered
the best reviews for any 2007 release, and was a box-office hit all over the globe. The combined
worldwide box-office gross for Pixar’s first eight releases is an astounding $4.3 billion.
“WALL•E” is the latest film from Academy Award®-winning director/writer Andrew
Stanton, who joined Pixar in 1990 as its second animator and the fledgling studio’s ninth
employee. He was one of the four screenwriters to receive an Oscar nomination in 1996 for
his contribution to “Toy Story” and was credited as a screenwriter on subsequent Pixar films,

13
 including “A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.,” and “Finding Nemo,” for which he
earned an Oscar nomination as co-writer. Additionally, he co-directed “A Bug’s Life,”
executive-produced “Monsters, Inc.” and the 2007 Academy Award®-winning “Ratatouille,”
and won an Oscar for Best Animated Feature for “Finding Nemo.”
Disney•Pixar’s “WALL•E,” directed by Andrew Stanton from an original story by Stanton
and Pete Docter and a screenplay by Stanton and Jim Reardon, is executive-produced by John
Lasseter and produced by Jim Morris (“Star Wars: Episode I” and “Episode II,” “Pearl
Harbor,” “The Abyss,” and three of the “Harry
Potter” films), who helped create some of the
industry’s groundbreaking visual effects during
his 18-year association with ILM as president of
Lucas Digital. Lindsey Collins, an 11-year
Pixar veteran, serves as co-producer; Thomas
Porter is associate producer. Oscar®-winning
cinematographer Roger Deakins serves as
visual consultant.
The voice cast includes funnyman Jeff Garlin
(“Curb Your Enthusiasm”), Pixar veteran John
Ratzenberger (“Cheers,” “Ratatouille,” “Toy
Story”), actress Kathy Najimy (“Sister Act,”
“King of the Hill”), stage and film star Sigourney
Weaver (“Alien,” “Gorillas in the Mist,” “Baby Mama”), and acclaimed four-time Oscar®-
winning sound designer Ben Burtt (“E.T.: The Extra-Terrestrial,” “Indiana Jones and the Last
Crusade”). Comedian Fred Willard (“Best in Show,” “Back to You”) also appears in the film.
WALL•E’s expressive range of robotic voices was created by Burtt, whose memorable work
includes creating the “voices” of other legendary robots, such as R2-D2 (from the “Star Wars”
films). Drawing on 30 years of experience as one of the industry’s top sound experts, Burtt
was involved from the film’s earliest stages in creating an entire world of sound for all of the
OUT TO LUNCH

robotic characters and the spacecraft, as well as all environments.

The original score for “WALL•E” is composed by eight-time Oscar® nominee Thomas
Newman, who had previously worked with Stanton on “Finding Nemo.” Rock-and-roll legend
Peter Gabriel collaborated with Newman on an original song called “Down to Earth.” Gabriel
wrote the lyrics for this captivating and clever musical epilogue and performed the song as well.

OUT TO LUNCH:
PIXAR PIONEERS CHEW ON NEW FILM CONCEPTS—
A ROMANTIC ROBOT BEGINS TO TAKE SHAPE

The idea for “WALL•E” came about in 1994 at a now-famous lunch that included Pixar
pioneers Stanton, John Lasseter, Pete Docter, and the late storytelling genius Joe Ranft. With
their first feature, “Toy Story,” in production, the group suddenly realized that they might
actually get a chance to make another movie. At that fateful gathering, the ideas for “A Bug’s
Life,” “Monsters, Inc.,” and “Finding Nemo” were first discussed. “One of the things I
remember coming out of it was the idea of a little robot left on Earth,” says Stanton. “We had
no story. It was sort of this Robinson Crusoe kind of little character—like, what if mankind

14
had to leave Earth and somebody forgot to turn the last robot off, and he didn’t know he could
stop doing what he’s doing?”
Years later, the idea took shape—literally. “I started to just think of him doing his job every
day and compacting trash that was left on Earth,” Stanton recalls. “And it just really got me
thinking about what if the most human thing left in the universe was a machine? That really
was the spark. It has had a long journey.”
Stanton says he was heavily influenced by the sci-fi films of the 1970s. “Films like ‘2001,’
‘Star Wars,’ ‘Alien,’ ‘Blade Runner,’ and ‘Close Encounters’—they all had a look and feel to
them that really transported me to another place, and I really believed that those worlds were
out there,” he explains. “I haven’t seen a movie since then that made me feel that same way
when we went out to space, so I wanted to recapture that feeling.”
In preparation for their assignment on “WALL•E,” Pixar’s animation team made field trips
to recycling stations to observe giant trash crushers and other machinery at work, studied real
robots up close and in person at the studio, and watched a wide range of classic films (from
silents to sci-fi) for insights into cinematic expression. Sticking to Pixar’s motto of “truth in
materials,” the animators approached each robot as being created to perform a particular
function and tried to stay within the physical limitations of each design while creating
performances with personality. Alan Barillaro and Steven Clay Hunter served as the film’s
supervising animators, with Angus MacLane assuming directing animator duties.
Production designer Ralph Eggleston (“The Incredibles,” “Finding Nemo,” “Toy Story”)
drew inspiration for the look of “WALL•E” from NASA paintings from the ’50s and ’60s and
original concept paintings for Disneyland’s Tomorrowland by Disney Imagineers. He recalls,
“Our approach to the look
of this film wasn’t about
what the future is going to
be like. It was about what
the future could be—which
is a lot more interesting.

OUT TO LUNCH
That’s what we wanted to
impart with the design of
this film. In designing the
look of the characters and the world, we want audiences to really believe the world they’re
seeing. We want the characters and the world to be real—not realistic-looking, but real in
terms of believability.”
Adding to the believability of the film is the way the film is photographed. Jeremy Lasky,
director of photography for camera, explains, “The whole look of ‘WALL•E’ is different from
anything that’s been done in animation before. We really keyed in to some of the quintessential
sci-fi films from the ’60s and ’70s as touchstones for how the film should feel and look.”
Stanton adds, “We did a lot of camera-work adjustment and improvements on our software
so our cameras were more like the Panavision 70mm cameras that were used on a lot of those
movies in the ’70s.”

15
 A WORLD OF ROBOTS AND OTHER BOTS:
THE WHO’S WHO IN “WALL•E”

• WALL•E (Waste Allocation Load Lifter Earth-Class) is the last robot left on Earth,
programmed to clean up the planet, one trash cube at a time. However, after 700 years, he’s
developed one little glitch—a personality. He’s extremely curious, highly inquisitive, and a
little lonely. WALL•E was one of
thousands of robots sent by the
Buy n Large corporation to clean
up the planet while humans went
on a luxury space cruise. He is
alone, except for the
companionship of his pet
cockroach, affectionately known
within Pixar’s walls as Hal
(named after a famous 1920s
producer, Hal Roach, and in
homage to HAL from “2001: A
Space Odyssey”). WALL•E faithfully compacts cubes of trash every day, uncovering and
collecting artifacts along the way. In fact, WALL•E has amassed a treasure trove of
knickknacks—a Rubik’s Cube®, a lightbulb, a spork—which he keeps in a transport truck
he calls home. A bit of a romantic, WALL•E dreams of making a connection one day,
certain that there must be more to life than this monotonous job he does every day. His
dream takes him across the galaxy and on an adventure beyond his greatest expectations.

• EVE (Extra-terrestrial Vegetation Evaluator) is a sleek, state-of-the-art probe-droid. She’s

fast, she flies, and she’s equipped with a laser gun. EVE, also called Probe One by the
captain of the Axiom (the enormous luxury mother ship which houses thousands of
displaced humans), is one of a fleet of similar robots sent to Earth on an undisclosed
scanning mission. EVE has a classified directive, and she is determined to complete her
mission successfully. She hardly even notices her new admirer, WALL•E. One day,
frustrated with not finding what she is looking for, she takes a break and develops an
unexpected bond with this quirky robot. Together, they embark on an amazing journey
through space.

• M-O (Microbe-Obliterator) is a cleaner-bot programmed to clean anything that comes

aboard the Axiom that is deemed a “foreign contaminant.” M-O travels speedily around the
Axiom on his roller ball, cleaning the dirty objects he encounters. His biggest challenge
comes on the day WALL•E shows up on the ship. M-O becomes fixated on the filthiest
A WORLD OF ROBOTS

robot he has ever seen. A game of cat and mouse ensues as M-O attempts to wash years of
garbage residue off WALL•E. However, as WALL•E tries to escape this pest, the two
eventually become friends, and M-O is soon WALL•E’s devoted sidekick.

• AXIOM is the space-docked ship housing humans. Serving as the voice of the ship’s
computer is Sigourney Weaver, who coincidentally made her motion-picture debut in

16
 “Alien,” one of Stanton’s inspirations for the film. And since her character in “Alien”
battled Mother, the ship’s computer, casting Weaver in the role was ultimately a nod to sci-
fi for the filmmakers.

• CAPTAIN is the current commander of the Axiom. Trapped in a routine, like WALL•E, the
captain longs for a break in the tiresome cycle of his so-called life. His uneventful duties
are simply checking and rechecking the ship’s status with Auto, the autopilot. When he is
informed of a long-awaited discovery by one of the probe-droids, he discovers his inner
calling to become the courageous leader he never could have imagined and plots a new
course for humanity. Jeff Garlin, part of the hilarious ensemble cast on the popular HBO
series “Curb Your Enthusiasm,” lends his voice to this likeable character.

• AUTO is the Axiom’s autopilot, who has piloted the ship through all of its 700 years in
space. A carefully programmed robot in the form of the ship’s steering wheel, Auto’s
manner is cold, mechanical, and seemingly dutiful to the captain. Unknown to all the
Axiom crew, a hidden mandate exists in Auto’s programming. Auto is determined to
execute these secret orders at any cost, regardless of the consequences for the inhabitants
of the Axiom.

• REJECT BOTS are

the Axiom’s cornucopia
of robots that perform
every function imaginable
to serve the ship’s
passengers and keep
them in the lap of luxury.
However, even hundreds
of years in the future,
machines are still fallible. Robots that have malfunctioned are sent to the repair ward and
branded with a red boot. WALL•E befriends this renegade group of reject bots, among
them a beautician-bot that fails to beautify her clients, a vacu- bot that erroneously spits out
dirt, and an umbrella-bot that opens and closes at inopportune moments. The misfit robots
band together with WALL•E to change the fate of the Axiom.

• GO-4 is the Axiom’s first mate, who harbors a secret with the autopilot. A roving
pneumatic capsule with a siren light for a head, he is dutiful to a fault.

• JOHN and MARY are two of the humans living on the Axiom, where they have settled into
a life of pampered luxury. The arrival of WALL•E jolts them from their daily routines and
A WORLD OF ROBOTS

causes them to realize the existence of one another and that there may be more to life than
floating around on their high-tech deck chairs. Pixar veteran/good-luck charm John
Ratzenberger lends his voice to the character of John, while actress/comedienne Kathy
Najimy (“Sister Act,” “King of the Hill”) speaks for Mary.

17
IDEA BECOMES REALITY
• SHELBY FORTHRIGHT is the personable and charming CEO of the Buy n Large
corporation, the massive global entity that gained control of the universe with its product
line of robots (including the WALL•E line) and luxury space cruisers (like the Axiom). The
corporation’s promises of a great, big, beautiful tomorrow echo on through Forthright’s
digital messages even though things haven’t turned out according to plan. Fred Willard
(“Best in Show,” “Fernwood 2 Night”) appears in the film as the face of the company.

THE IDEA BECOMES REALITY:

DIRECTOR/CO-WRITER ANDREW STANTON’S FUTURISTIC TALE
OF ROBOTS, ROMANCE AND GALACTIC ADVENTURE

“We wanted the audience to believe they were witnessing a machine that has come to
life. The more they believe it’s a machine, the more appealing the story becomes.”
—Andrew Stanton, Director/Co-Writer

The image of a lonely little robot—the last one on the planet—methodically going about
his job picking up trash intrigued director/co-writer Andrew Stanton from the first time it
came up over lunch with his
colleagues back in 1994. It
would be many years before
he would find a unique story
that could use this character
to its full potential.
Stanton explains, “I
became fascinated with the
loneliness that this situation
evoked and the immediate empathy that you had for this character. We spend most of our time
on films trying to make our main characters likeable so that you want to follow them and root
for them. I started thinking, ‘Well, where do I go with a character like this?’ And it didn’t take
long to realize that the opposite of loneliness is love or being with somebody. I was
immediately hooked and seduced by the idea of a machine falling in love with another
machine. And especially with the backdrop of a universe that has lost the understanding of the
point of living. To me, that
seemed so poetic. I loved
the idea of humanity getting
a second chance because of
this one little guy who falls
in love. I’m a hopeless
romantic in cynic’s
clothing. This movie gave
me a chance to indulge in
that romantic side a little more than I normally would in public.”
Jim Reardon—a veteran director and story supervisor on “The Simpsons,” who directed 35
episodes of the show and supervised story on nearly 150 episodes—came on board to be head
of story for “WALL•E.” He ended up co-writing the screenplay for the film along with Stanton.

18
 IDEA BECOMES REALITY
According to Reardon,
“We started with the idea of
making ‘WALL•E’ a
comedy, but about a third of
the way through, we
realized that the film is a
love story, too. WALL•E is
an innocent and child-like
little character who
unintentionally ends up having a huge impact on the world. The story arc of the film is really
about EVE. Her character undergoes the biggest change, and the film is as much about her as
it is about him. She’s very sleek, techno-sexy, and very futuristic-looking. He’s totally
designed just to do his job and is rusty, dirty, and ugly. But we always thought that would make
a great romantic adventure.”
Producer Jim Morris sums it up. “This film is a mix of genres. It’s a love story, it’s a
science-fiction film, it’s a comedy, it’s a romantic comedy.”
One of the great turning points for Stanton in creating the story for “WALL•E” was
stumbling upon the idea of using the musical imagery and songs from the 1969 movie version
of “Hello, Dolly!” to help him define WALL•E’s personality. In fact, it is WALL•E’s repeated
viewings of an old videotape of that film (the only one in his collection) that have led to the
glitch of his romantic feelings.
Stanton explains, “I had been searching for the right musical elements to go with the film,
and stumbling upon ‘Hello, Dolly!’ was the best thing that could have ever happened. The
song ‘Put on Your Sunday Clothes,’ with its ‘Out There’ prologue, seemed to play so well with
the themes of the film and yet would normally not be the kind of music you’d expect to find
in a film like ours. It’s a very naïve song, really, and it’s sung in ‘Hello, Dolly!’ by two guys
who don’t know anything about life. They want to go to the big city, and they ‘won’t come
home until we’ve kissed a girl.’There’s such simple joy to it, and it really worked for us. When
I found ‘It Only Takes a Moment,’ it was like a godsend. That song became a huge tool for me
to show WALL•E’s interest in what love is.”

It only takes a moment

For your eyes to meet and then
Your heart knows in a moment
You will never be alone again
I held her for an instant
But my arms felt sure and strong
It only takes a moment
To be loved a whole life long...
—Excerpt: “It Only Takes a Moment” from “Hello, Dolly!”

Says producer Morris, “Holding hands is the thing that WALL•E’s wanted to do the entire
movie, ’cause it’s what he’s learned from watching ‘Hello, Dolly!’...it’s the way you show
affection in that movie.”
Adds Stanton, “And I realized, ‘That’s right.’That musical moment in the film showed these

19
 two people holding hands, and I knew it was meant to be,” he says. “I’ve always felt, almost
with a zealous passion, that animation can tell as many stories in different ways as any other
medium, and it’s rarely been pushed outside of its comfort zone,” concludes Stanton. “I was
so proud to have had something to do with the origin and creation of ‘Toy Story,’ because I
felt that the tone of the
movie and the manner of its
storytelling broke a lot of
conventions that were in
people’s minds. And I still
feel like you can keep
pushing those boundaries.
Even before I knew this
film was going to be called
STRETCHING THE LIMITS

‘WALL•E,’ I knew it was yet another step in pushing those boundaries out farther. I’m so
proud that I got a chance to make it and that it matched my expectations.”

“This little robot actually teaches humanity how to be human again.”

—Lindsey Collins, Co-Producer

Co-producer Lindsey Collins observes, “Andrew’s films have an incredible emotional core
to them that lays the foundation upon which the action-adventure plays out. He writes stories
that are so simple and identifiable. Even though the movie is out there in terms of its concept
and scale, it feels very personal from him as a writer. He likes to write about small characters
whose journey or struggle has an enormous impact. In ‘Finding Nemo,’ Marlon went on a
journey, and Dory unintentionally had this enormous impact on him, and he was changed as
a result. In a similar way, WALL•E is this unintentional hero. He has the ability to impact
humanity, and the ironic thing is that he is the most human thing left on Earth. This little robot
actually teaches humanity how to be human again. It’s that twist and irony combined with real
emotion that I think is going to resonate with audiences.”

STRETCHING THE LIMITS OF ANIMATION:

PIXAR’S ANIMATORS ADD ROBOTS TO THEIR REPERTOIRE

Pixar’s talented team of animators has tackled some seemingly impossible tasks for the
films they’ve created, raising the bar for quality animation on every occasion. From toys to
ants, fish to monsters, and superheroes to culinary rats, they’ve created memorable characters
that have become icons the world over. For their latest assignment on “WALL•E,” new
challenges were posed by a colorful cast of robot and human characters. With supervising
animators Alan Barillaro and Steve Hunter in charge of the group (50 animators at the peak
of production), and directing animator Angus MacLane adding his experience and talent, this
film represents another triumph in the art of animation.
Jim Reardon, head of story for “WALL•E,” observes, “What we didn’t want to do on this
film was draw human-looking robots with arms, legs, heads and eyes, and have them talk. We
wanted to take objects that you normally wouldn’t associate with having humanlike
characteristics and see what we could get out of them through design and animation.”

20
 Stanton explains, “We wanted the audience to believe they were witnessing a machine that
has come to life. The more they believe it’s a machine, the more appealing the story becomes.”

“In ‘WALL•E,’ the animators are really operating at the height of their craft to
be able to convey emotions and complex thoughts with so few words.
It’s more about being able to touch people through the animation.”
—Ed Catmull, President of Disney and Pixar Animation Studios

One of the biggest challenges facing the animators was the need to communicate emotions
and actions clearly without being able to rely on traditional dialogue.
“We felt we could do it with nontraditional dialogue, maintaining the integrity of the
character,” says Stanton. “In real life, when characters can’t speak—a baby, a pet—people tend
to infer their own emotional beliefs onto them: ‘I think it’s sad,’ ‘She likes me.’ It’s very

STRETCHING THE LIMITS

engaging for an audience.”
According to Ed Catmull, president of Disney and Pixar Animation Studios, “In
‘WALL•E,’ the animators are really operating at the height of their craft to be able to convey
emotions and complex thoughts with so few words. It’s more about being able to touch people
through the animation.”
Stanton notes, “In the world of animation, pantomime is the thing that animators love best.
It’s their bread and butter, and they’re raised on it instinctually. John Lasseter realized this
when he animated and directed his first short for Pixar, ‘Luxo Jr.,’ featuring two lamp
characters who express themselves entirely without dialogue. The desire to give life to an
inanimate object is innate in animators. For the animators on ‘WALL•E,’ it was like taking the
handcuffs off and letting them run free. They were able to let the visuals tell most of the story.
They also discovered that it’s a lot more difficult to achieve all the things they needed to.
“I kept trying to make the animators put limitations on themselves, because I wanted the
construction of the machines and how they were engineered to be evident,” Stanton adds. “The
characters seem robotic
because they don’t squash
and stretch. It was a real
brain tease for the
animators to figure out how
to get the same kind of
ideas communicated and
timed the way it would sell
from a storytelling
standpoint and yet still feel like the machine was acting within the limitations of its design and
construction. It was very challenging—and completely satisfying when somebody found the
right approach and solution.”
To help prepare them for their assignment, the filmmakers and animation team met with
people who designed real-life robots, visited NASA scientists at Jet Propulsion Laboratory,
attended robotic conferences, and even brought in some real robots, including a bomb-sniffing
robot from the local police department. To understand what the human characters might look
like after hundreds of years of pampered life in space, NASA expert Jim Hicks came in to
discuss disuse atrophy and the effects of zero gravity on the body.

21
 Jason Deamer, the
film’s character art director,
recalls that one of the
starting points in designing
WALL•E was his eyes.
“Andrew came in one day
with the inspiration for
WALL•E’s eyes. He had
been to a baseball game and
was using a pair of binoculars. He suddenly became aware that if he tilted them slightly, you
got a very different look and feeling out of them. That became one of the key design elements
for the main character.”
The rest of WALL•E’s design stemmed from functionality. “How does he get trash into
STRETCHING THE LIMITS

himself and how does he compact it?” Deamer asks. Field trips were made to recycling plants
to see trash-compacting machines in action. “We knew he needed treads to go up and over
heaps of trash,” he says. “He also needed to be able to compact cubes of trash and have some
kind of hands to gesticulate.”

DO ROBOTS HAVE ELBOWS?

One of the big points of discussion in creating the character of WALL•E was whether or
not he should have elbows.
“Early in the film, we had designed WALL•E with elbows,” explains supervising animator
Steve Hunter. “This gave him the ability to bend his arms. As animators, we were fighting for
it, thinking he’s got to be able to touch his face, hang off a spaceship, and have a wide range
of motion. But when you really looked at it, it didn’t feel right. He’s designed to do a task,
which is to pull trash into his belly. Why would he have elbows? It didn’t make any sense. So
with Andrew’s help and an inspired idea by directing animator Angus MacLane, we gave him
a track around his side which allowed him to position his arms differently and give him a range
of motion. It helped us flesh out the character a lot more. Something like elbows may seem
kind of trivial, but the way we solved the problem makes you believe in WALL•E more,
because we didn’t take the easy way out.”
Despite the relative simplicity of his movements, animating WALL•E proved to be one of
the toughest assignments yet for the animation team. According to supervising animator
Barillaro, “WALL•E has a lot of different controls, including about 50 for the head alone. He’s
not organic like a human. We had to boil his movements down to their bare essence to make
them effective. The first thing the animators wanted to do when they got a scene with him was
to do all their tricks, like bouncing his head around. They were trying to get too broad and too
human. We had to keep reminding them to pare things down and go as simply as possible with
the animation. Simpler is definitely better in this case.”
With WALL•E’s voice being such an important part of his personality, the animators
worked in close concert with sound designer Ben Burtt to inspire one another. Typically, the
animators would work with the rough designs to prepare test animation. Burtt would then add
WALL•E’s voice and send it back to the animators for another pass. Voice and animation
would get edited together, and out of that would come the final performance.

22
 “She has this gracefulness and elegance in the way
she moves, which you’d expect in a technically advanced robot.”
—Angus MacLane, Directing Animator

Animating EVE also posed its share of challenges for the group. With only two blinking
eyes and four moving parts, she required a lot of advanced thought and just the right subtle
movement. Designed to look like a futuristic robot, EVE is the epitome of elegance and
simplicity.
“We wanted her to be graceful,” says Stanton. “There are different ways to convey what is
masculine and what is feminine in this world, and we felt that she should be fluid, seamless,
she should have attractive feminine qualities.”
MacLane explains, “While WALL•E’s movements are more traditional, with motors, gears,
and cogs, EVE is this sleek, egg-shaped robot who moves through the use of magnets. Every

STRETCHING THE LIMITS

frame and composition has to be cheated ever so slightly so that it’s pleasing to the eye. She
has this gracefulness and elegance in the way she moves, which you’d expect in a technically
advanced robot.”
Hunter adds, “Every plane change, every angle, and even the way her head curved around
to the back when rotated had to be posed in a certain way to make it feel right. Everything
with her had to be really, really subtle. Basically, she consists of only four parts and two eyes
that blink. We had a lot of
discussions about how she would
move using her arms. We treated her
almost like a drawing in some ways
and came up with just the right
poses to express emotion. It’s pretty
amazing how much you really read
into her.”
In addition to some of the other
main robot characters—Auto, M-O
and the reject bots, among others—
the character design team created a
catalogue of robots and crowds of up to 10,000 humans to populate the Axiom. A modular
robot system was devised using a series of different robot heads that could be combined with
a variety of arms and bodies. Painted various colors and otherwise differentiated, countless
robots were created.
Co-producer Collins notes, “We created a library of characters with interchangeable parts
so that we could do a build-a-bot program. We could choose from different kinds of treads and
arms. You could swap them to create different silhouettes and characters. We had close to a
hundred variations and about 25 different basic silhouettes that we could mix and match to
make the world seem fuller.”
MacLane credits Stanton with inspiring the animators to do their best work. “What makes
Andrew such a successful director,” says MacLane, “is his ability to see the film in its entirety
at all times. He’s able to zero in on what you’re working on and suggest how to make it better
for the sequence. His sense of story is so strong, and he knows how to communicate that to the
animators. He likened good storytelling to telling a joke. He’s ultimately trying to tell a really

23
 good joke over a period of nearly 90 minutes. We have all these building blocks that evoke
emotions, and he’s trying to figure out the best way to tell it. Our job in animation is to make
sure we’re communicating clearly to the audience and that it supports his ideas for the story.”
Stanton sums up his appreciation for the animators on the film. “They were just such
champions of this movie, and they really loved the concept and particularly the challenges and
the limitations that we had put upon ourselves for designing all the characters the way we did.
They got it from the very beginning.”

WHAT THE BEEP?

LEGENDARY SOUND DESIGNER BEN BURTT CREATES UNIQUE ROBOT
VOICES ALONG WITH A UNIVERSE OF SOUNDS FOR “WALL•E”

The cast of characters in “WALL•E” includes a wide assortment of robots, including

several that speak or communicate in their own unique language. For the film’s producer, Jim
Morris, and director/co-writer Andrew Stanton, there was only one clear choice to create the
specialty voices for these robot characters and design the sounds for this film. And that choice
was multiple Oscar®-winning sound designer Ben Burtt, the legendary talent who created the
voice of R2-D2, the crack of Indiana Jones’ whip, the hiss for “Alien,” and many other iconic
sounds known to moviegoers everywhere.
“Ben is one of a kind,” says Stanton. “He is such a master of sound design, and he’s the
name that’s been made famous by every kid who ever liked ‘Star Wars’ and all the films that
followed.
“When I realized I was actually going to get the chance to make ‘WALL•E,’ I knew that in
many ways, the film had to rely on sound to tell the story,” Stanton continues. “I wanted our
robots to communicate more on the level of R2-D2 than C-3PO—with their own machine-like
language. I felt it would be more clever, more interesting that way. When Jim told me that he
had worked with Ben at ILM for many years and suggested that we invite him over, I was
WHAT THE BEEP?

thrilled. I pitched the movie to Ben and told him that I would need him to be a good deal of
my cast. Thank goodness he said yes, because it soon became obvious that we couldn’t have
done it without him. He’s the absolute best.”
Jim Morris adds, “Ben’s ability to create otherworldly voices and special voices that have
emotion and sentiment
made him a perfect casting
choice for ‘WALL•E,’ and
we’re so delighted that he
worked on the film. Some
of the character voices he
created are completely
synthetic, some are made
up of a conglomeration of
various types of sounds that Ben has found or created, and some of them are based on a little
bit of human performance that is then manipulated. Ben was also extremely important with all
the sounds in the movie.”

24
 “It was a weird balance between sounding like it was generated by a machine but still
having the warmth and intelligence—I call it soul—that a human being has.”
—Ben Burtt, Sound Designer

Burtt explains, “My background on ‘Star Wars’ gave me lots of experience in working with
robot and alien voices, but ‘WALL•E’ required more sounds for the robot characters than any
previous movie I’d worked on.
The challenge of this film was to
create character voices that the
audience would believe are not
human. Yet they could relate to
the characters with all the
intimacy, affection and identity
that they’d attribute to a living
human character. The voices
couldn’t just sound like a machine with no personality or like an actor behind a curtain
imitating a robot. It was a weird balance between sounding like it was generated by a machine
but still having the warmth and intelligence—I call it soul—that a human being has.”
Burtt got the call to work on “WALL•E” just months after completing work on the last
“Star Wars” film. He had told his wife “No more robots,” but the temptation to work at Pixar
on an entirely different kind of robot film proved to be too strong.
“Fortunately, it was such a fresh and exciting idea, and the challenge of the sound in the
film really appealed to me,” says Burtt. “Sound and the robot voices were going to play such
an unusual role that I couldn’t help but be inspired. So, of course, I signed on to work with
Jim and Andrew and do the sound design for the film.”
Regarding the voice for the character of WALL•E, Burtt explains, “It starts with me in my
little recording chamber in our sound department. I take those original recordings and run it

WHAT THE BEEP?

through my computer in which the sound is analyzed and broken down into all its component
parts. Much like you’d take light and run it through a prism to break it into a spectrum of
colors, you can do the same thing with an audio file. Once you’ve broken the sound into all
its component parts, you can start re-fabricating it back together again. But now you can
control the amounts of one thing or another. I can inject a machine-like quality into the sound
and do things to it that the human vocal chords could never really do. You can hold a certain
vowel longer and stretch it. You can change the pitch of something up and down. You can put
two sounds close together. In re-fabricating the sound with a particular program I developed,
I was able to keep as much of the original performance as I wanted but add a bit of synthetic
form to it.
“If sound were Silly Putty,” adds Burtt, “you could stretch it and make it longer. And I
found a way of working on WALL•E’s voice where I could do that. It gave a quality that
Andrew really liked, and it allowed us to keep the personality going.”
In addition to the character WALL•E, Burtt was also responsible for the voices of M-O,
Auto and EVE, whose tone he created by manipulating the voice of Pixar employee Elissa
Knight.
For the other sounds in the film, Burtt created a library of 2,400 files—the most he’s ever
accumulated for any film. “WALL•E” was Burtt’s first animated feature. “Animation is very

25
 dense, and the sounds are all really
fast,” he observes. “When I was
initially making sounds for
WALL•E, I found I was always
doing it too slow, so I had to speed
up everything in my life to get the
sounds fast.”
Burtt had to be resourceful in
creating sounds for the film. To
make the sound of the cockroach
skittering, he found a pair of police
handcuffs and recorded the clicking
as he took them apart and reassembled them. To get the sound of EVE flying, he found
someone who had built a 10-foot-long, radio-controlled jet plane and recorded it flying
immediately overhead. Running up and down a carpeted hallway with a big, heavy canvas bag
created a howling wind effect that was perfect for an Earth windstorm. And a hand-cranked
inertia starter from a 1930s biplane did the trick in creating the sound of WALL•E moving into
high gear.
“The best part of working on any film when you’re the sound designer is when you’re alone
in your editing room and you’ve got some finished footage in front of you,” says Burtt. “And
you put the sound in for the first time, and something really clicks. You’re the first one to see
it, and that’s a sweet moment. Wandering the halls at Pixar was really inspiring, because there
are so many talented people there doing incredible things. I would go back to my studio and
think, ‘Can my sound be as good as what I’m seeing?’”

OUT THERE:
PRODUCTION DESIGNER RALPH EGGLESTON’S
FANTASTIC VISIONS OF EARTH AND SPACE

The production design for “WALL•E” required a unique cinematic vision of the future that
ran the gamut—from an abandoned, trash-covered Earth to an enormous floating cruise ship
in space perched on the
edge of a nebula that is
home to thousands of
humans. Overseeing the
production design on the
film was Ralph Eggleston
(“Finding Nemo”), a Pixar
veteran with art-director
credits on “Toy Story” and
“The Incredibles,” also the director of the Oscar®-winning short “For the Birds.” Working
closely with him to achieve his artistic goals were three top art directors: Anthony Christov
OUT THERE

(sets art director), Bert Berry (shader art director), and Jason Deamer (character art director).

26
 “We find our own sense of world and create it from scratch.”
—Ralph Eggleston, Production Designer

According to producer Morris, “The biggest overall challenge on this film from my point
of view was the production design and locking down the look of our sets and environments.
We knew going into it that we needed to have a future incarnation of Earth in its abandoned
state, but it was enormously complicated to get all the detailed nooks and crannies figured out.
The design of the Axiom and the space environments was also tricky, but we had a larger body
of material for those elements to research and learn from. Ralph and his team did an amazing
job creating entertaining and intriguing worlds that became characters in their own right and
helped Andrew tell the story he wanted to tell.”
“One of the great things about what Pixar does,” explains Eggleston, “is that we create
animated films that also have elements of special-effects films and live-action films. We find
our own sense of world and create it from scratch. With ‘WALL•E,’ it was essential that the
audience believe in this world or they would have a hard time believing that our main character
is really the last robot on Earth. So we set out to make our Earth setting very realistic, with a
great level of detail. We
created nearly six miles of
cityscape so that everywhere
WALL•E goes, we know
exactly where it is and that
world really exists. We ended
up stylizing it quite a bit for
animation, but these are the
most realistic settings we’ve
ever created here at Pixar. This
was also our toughest assignment from an artistic standpoint.
“Another one of our goals on this film was to use color and lighting to highlight WALL•E’s
emotions and help the audience connect with them,” Eggleston adds. “Act one is all about
romantic and emotional lighting, and act two is very much about sterility, order, and
cleanliness. The second act is the direct antithesis of the first. As the film progresses, we
slowly but surely introduce a little bit more romantic lighting. A big part of my job is
wrangling all of these disparate ideas from the art department all the way through the
production pipeline.”
For inspiration in creating the look of outer space for “WALL•E,” Eggleston and his team
turned to idealized views of the future from NASA scientists of the ’50s and ’60s and the
concept art for Disneyland’s Tomorrowland.
“One of the biggest influences for me and everyone on the film in terms of creating our
vision of the future was the art created for Tomorrowland,” explains Eggleston. “It wasn’t
about the specifics but rather the notion of ‘Where’s my jet pack?’ You look at a lot of the
space-program paintings of the ’40s, ’50s, and ’60s, and you see fantastic imagery of
buildings on Mars. Somewhere around 1978, they stopped doing that, because they wouldn’t
OUT THERE

fund anything that they knew they couldn’t do. We were interested in showing what the future
could be like and won’t it be great when we get there. That’s what we wanted to impart with a
lot of the design of this film.”

27
ADVANCING THE ART
Inspiration for the Axiom design came from researching luxury cruise ships, including
those operated by Disney. Field trips to Vegas also helped to suggest practical lighting for an
artificial luxury setting.
“The original concept for the Axiom came from a cruise line,” says Eggleston. “We
designed a massive spaceship that is as big as a city, several miles long, and capable of holding
hundreds of thousands of residents. We knew that the audience would need some kind of
visual grounding, so we put it next to a nebula. When we first see the nebula, it reminds you
of a mountain with something on top, and then it reveals the Axiom.”

ADVANCING THE ART OF COMPUTER ANIMATION:

ACCLAIMED CINEMATOGRAPHER ROGER DEAKINS AND
VISUAL-EFFECTS PIONEER DENNIS MUREN CONSULT ON “WALL•E”

“One of the things that Andrew wanted to do with ‘WALL•E’ was to create a different look
than we’re used to seeing in animated films,” recalls producer Morris. “Very often, animated
films feel like they’re recorded in some kind of computer space. We wanted this film to feel
like cinematographers with real cameras had gone to these places and filmed what we were
seeing. We wanted it to have artifacts of photography and to seem real and much more gritty
than animated films tend to be. During my many years working at ILM, I had met several
people that I thought could be helpful with that.”
Morris invited two of the top filmmakers in their respective fields to visit Pixar and to serve
as consultants on the film. Cinematographer Roger Deakins (“No Country for Old Men,” “The
Assassination of Jesse
James by the Coward
Robert Ford,” “Fargo,” “O
Brother, Where Art
Thou?”), a seven-time
Oscar® nominee best known
for his frequent work with
the acclaimed Coen
Brothers, lent his expertise
on lighting and camera issues. Renowned visual-effects wizard and six-time Oscar® winner
Dennis Muren (“Star Wars,” “Indiana Jones,” “Terminator 2,” “Jurassic Park,” “The Abyss,”
“Twister”) offered his expertise on visual effects and creating the right atmospheric imagery.

“There’s a bit of imperfection in the look of the final film that adds to its believability.”
—Jim Morris, Producer

“Both Roger and Dennis spent periods of time on the film bringing their perspectives to it
and giving us a lot of ideas about how things would look and feel,” says Morris. “We actually
brought in some vintage 1970s Panavision cameras, similar to the ones used to shoot the
original ‘Star Wars,’ and shot some imagery to get a sense of the kind of artifacts those lenses
created. We observed technical things like chromatic aberration, barrel distortion and other
imperfections and took what we learned and applied it to our computer-graphics photography.
Dennis and Roger were pivotal in helping us get those looks. For example, their advice on

28
cinematography, lighting, and composition helped us create the austere, glaring, and harsh
Earth landscape in the first act.”
Morris’ background in live-action and visual-effects filmmaking also helped the
filmmakers achieve their desire to have the movie feel like it was filmed and not recorded. “I
explained to the technical team that,
in the real world, when you’re
shooting, the lens is usually about
three feet in front of the film plane,
and you’re getting perspective shift
when you pan and tilt. They took
this information and came back
with imagery that looked 50 percent
more like a photographed image.

DOWN-TO-EARTH MUSIC
The result feels like there was a
cameraman present, as opposed to
being in some sort of virtual space
where everything is pristine. There’s a bit of imperfection in the look of the final film that adds
to its believability.”
As director of photography for camera, Jeremy Lasky helped take the film to an even
higher level. “We advanced our camera and lighting technology to give the film a feel like
there was a camera and lens shooting the action. We used a widescreen aspect ratio and a very
shallow depth of field to give a real richness to the cinematography. You’ll notice backgrounds
out of focus and more textured layers of focus in some shots to create almost watercolor
compositions. We also used a lot of handheld and steady-cam shots, especially in space, to
make the audience feel that could really happen and that this is a real robot moving through a
real world. You feel like you’re witnessing this scene really unfold. One of the great
innovations for us on this film, and a first for Pixar, was that we were able to previsualize the
key lights prior to shooting so that we would have a much better idea of what the final film
frame would look like. In the past, we had no lighting information at all at this stage of the
production.” Lasky worked closely with Danielle Feinberg, who was the director of
photography for lighting.
“When I saw the finished film, I had one of those moments where I thought, ‘I’ve never
seen a movie quite like this before!’” concludes Morris. “I felt like I was seeing it through
fresh eyes.”

DOWN-TO-EARTH MUSIC:
THOMAS NEWMAN AND PETER GABRIEL CREATE COSMIC COMPOSITIONS

Andrew Stanton and composer Thomas Newman got along swimmingly on their first
collaboration, “Finding Nemo,” so it seemed a natural that the two would come together for
an encore on “WALL•E.” With its emphasis on visual storytelling and less dialogue, music
plays an even greater role than usual in helping the filmmakers create moods and
communicate their story. Newman collaborated with rock-and-roll legend Peter Gabriel on a
song called “Down to Earth,” providing an entertaining musical epilogue to the film.
Stanton observes, “Working with Tom has always been a dream for me. I’ve been a fan of

29
 his music for a long time, because he is such an original. I remember first telling him about
this new project on the night of the Academy Awards® in 2004 when we were there for ‘Nemo.’
I said that I have this idea for a film, and it involves ‘Hello, Dolly!’ and science fiction. I was
wondering if he would still speak to me after that. It turns out that the score for ‘Hello, Dolly!’
was composed by Tom’s
legendary uncle, Lionel
Newman, so in a sense, we
were keeping it all in the
family.”
“The one thing that’s
guaranteed when you work
with Tom is that you’re going
to get something that isn’t
DOWN-TO-EARTH MUSIC

conventional,” adds Stanton.

“When you request something that comes from a conventional place, like a sci-fi genre, you
know you’re going to get something with a slight left turn to it. His score always gives the film
its own special stamp of identity, and it doesn’t feel like anything you’ve ever heard before.
For ‘WALL•E,’ he really found a whole new level of beauty and majesty and scale that was
beyond anything I could have imagined.”

“In animation, mood happens in smaller increments of time,

seconds sometimes.”
—Thomas Newman, Composer

One of the things that Stanton most admired about Newman’s work on “WALL•E” was its
ability to capture the big, sweeping outer-space themes as well as all of the intimacies of the
relationship between the two lead robots.
“Tom was able to communicate a sense of the world we were creating with his score,” notes
Stanton. “There’s a scene in the first act where we see WALL•E going about his daily routine,
and there’s a mechanical clockwork aspect to it. The score has a factory-like rhythm to it, with
almost a faint whistle, almost like whistling while you work. Tom is always able to find the
truth of these moments. And with his unique style of overdubs and mixing after he’s recorded
with the orchestra, he comes up with a fresh palette of sounds. He has a real natural ability to
find the intimate emotion in a scene. I think that’s why we fit together so well, because my
natural inclination is to emphasize the emotional aspect of storytelling.”
Newman adds, “Writing music for an animated film is very different than working in live
action. In animation, mood happens in smaller increments of time, seconds sometimes. Here’s
a mood, and then boom, an action takes place. I learned with ‘Nemo’ that you couldn’t just
create a prevailing mood and let it sit very long. Working in animation requires making
transitions, and it’s about how the music moves from one feeling to another.
“My music tends to be patterned or repeating, so I like to get together with a percussionist
or a guitarist who can take these patterns and add to them to make them sonically interesting,”
says Newman. “If you have repeating phrases, oftentimes it allows the ear to hear colors that
widen your perception of sound and music. What interests me about music is the depth of it.”

30
 “Tom went to London to jam with Peter, and it was like this whirlwind romance.”
—Andrew Stanton, Director/Co-Writer

For the song “Down to Earth,” which is heard at the end of the film, Stanton had the
opportunity to collaborate with another of his musical heroes—Peter Gabriel. A huge fan of
the rock-and-roll legend since he was 12 years old, Stanton contacted Gabriel about writing a
song that would be integral to the conclusion of the story.
Stanton recalls, “Working with Peter has been one of the
biggest highlights of my professional career. When it came to
the ending for our film, I knew that we needed to add some
additional story points and create something with a global feel to
it. And it suddenly dawned on me that Peter is the father of world
music to much of the Western world. I got completely
seduced with the idea of putting him and Tom in a room
together and seeing what they could come up with. Tom
went to London to jam with Peter, and it was like this
whirlwind romance. Suddenly, there was this amazing
Thomas Newman/Peter Gabriel song called ‘Down to
Earth’ that is just beyond my wildest dreams. Peter’s lyrics
are so deceivingly simple, but they’re spot on. I was so moved
when I heard the lyrics, because they were so clever and
fit so well. They felt completely indicative of Peter
Gabriel, and knowing that it was based on the story I had written and that I had any association
whatsoever with, it really blew my mind.
“It feels very much like a Peter Gabriel song, but it has a connectivity and sensitivity that
is Tom’s,” adds Stanton. “Tom was so inspired by the song that he went back into the movie
and rescored some key moments to include some of the same themes. It really feels

ABOUT THE CAST

completely organic and integral to the film.”

ABOUT THE CAST

JEFF GARLIN’s (Captain) talent encompasses writing,

producing, directing, acting, and performing stand-up comedy.
Garlin both co-stars and executive-produces the HBO series
“Curb Your Enthusiasm.” The unique comedy stars “Seinfeld”
creator Larry David, with Garlin portraying his loyal manager. The
critically acclaimed series has won numerous awards, including the
Golden Globe® Award for Best Comedy, The Danny Thomas
Producer of the Year Award from the Producers Guild of America,
and the AFI Comedy Series of the Year award.
Born and raised in Chicago and then South Florida, Garlin
studied filmmaking and began performing stand-up comedy while at the University of Miami.
He has toured the country as a stand-up comedian, is an alumnus of Chicago’s Second City
Theatre, and has written and starred in three critically acclaimed solo shows (“I Want Someone
to Eat Cheese With,” “Uncomplicated,” and “Concentrated”). Garlin recently had his first film,

31
 “I Want Someone to Eat Cheese With,” released to critical acclaim. Garlin has also directed
“Curb Your Enthusiasm” and both Jon Stewart (“Unleavened”) and Denis Leary (“Lock-n-
Load”) in their HBO specials.
Garlin has extensive feature acting credits, including a starring role opposite Eddie Murphy
in the comedy “Daddy Day Care.” He recently completed the Fox Atomic Comedy “The
Rocker” opposite Rainn Wilson and Christina Applegate.

FRED WILLARD (Shelby Forthright) kicked off his career as

part of Chicago’s renowned The Second City. His improvisational
performance in the film “Best in Show” earned him the Boston
Society of Film Critics Award for Best Supporting Actor, the
American Comedy Award for Funniest Performance by a
Supporting Actor, nominations for Best Supporting Actor from the
New York Film Critics and The National Film Critics Society, and
the Official Selection Award from AFI.
Willard’s credits on the small screen include his most recent role
alongside Kelsey Grammer and Patricia Heaton in the FOX comedy
“Back to You.” He received three Emmy® Award nominations for his recurring role on
“Everybody Loves Raymond” and received a Daytime Emmy Award nomination for Best Day
Time Talk Show Host for “What’s Hot What’s Not.” He co-starred in Norman Lear’s innovative
cult-classic talk-show satire “Fernwood 2 Night” and has had recurring roles on “Ally
McBeal,” “The Simpsons,” and “Mad About You.” Additionally, Willard counts more than 90
appearances on “The Tonight Show with Jay Leno.”
On the big screen, Willard earned an American Comedy Award nomination and a Screen
Actors Guild Award® nomination for Funniest Supporting Actor for his role in “Waiting for
Guffman.” His film credits also include “This Is Spinal Tap,” “Roxanne,” “The Wedding
Planner,” “How High,” “American Wedding,” “A Mighty Wind,” and “Anchorman: The
ABOUT THE CAST

Legend of Ron Burgundy.”

Willard has several stage roles to his credit, including off-Broadway performances in
“Little Murders,” directed by Alan Arkin, and “Arf,” directed by Richard Benjamin. His
regional roles include “Call Me Madam” in Chicago and the musicals “Promises, Promises”
with Jason Alexander and “Anything Goes” with Rachel York, both in Los Angeles. He starred
in Wendy Wasserstein’s “Isn’t It Romantic” and off-Broadway in “Elvis and Juliet,” which was
written by his wife, Mary Willard. “Fred Willard: Alone at Last!”—a one-man show with a
cast of 12—received two Los Angeles Artistic Director Awards for Best Comedy and Best
Production.

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 JOHN RATZENBERGER (John) is an accomplished
director, producer, and multiple Emmy® Award-nominated actor
with notable credentials as an entrepreneur and humanitarian. While
he is best known to international audiences as postman Cliff Clavin
on “Cheers,” for which he garnered two Emmy nominations,
Ratzenberger is the only actor to voice a role in all of the
Disney•Pixar films. Indeed, his characters have been memorable:
the charming and witty Hamm the piggy bank in “Toy Story”
(reprised in “Toy Story 2” and the upcoming “Toy Story 3”), P.T.
Flea in “A Bug’s Life,” Yeti the snow monster in “Monsters, Inc.,” a
school of Moonfish in “Finding Nemo,” a philosophical character named Underminer in “The
Incredibles,” a Mac truck in “Cars,” and Mustafa, the head waiter in “Ratatouille.”
A former carpenter, archery instructor, carnival performer, and oyster-boat crewman,
Ratzenberger was raised in Bridgeport, Conn. An English-literature major at Sacred Heart
University, he starred in one-man shows and directed others after graduation. Ratzenberger
spent a decade in England as co-founder of the improvisational duo Sal’s Meat Market,
earning acclaim across Europe and a grant from the British Arts Council. Early in his career,
he appeared in more than 22 motion pictures, including “A Bridge Too Far,” “Superman,”
“Gandhi,” and “Star Wars: The Empire Strikes Back.” Ratzenberger also starred in the
Granada TV series “Small World” and cut his teeth as a producer and writer for the BBC,
Granada TV, and several prestigious theater companies.
In 1982, Ratzenberger auditioned for a role on “Cheers,” suggesting to creators that they
consider adding a know-it-all bar regular. The character of Cliff Clavin was brought to life,
and the “Cheers” team rewrote the pilot to include him. During 11 seasons on “Cheers,”
Ratzenberger improvised many of his lines, helping bring freshness and enduring popularity
to a show that earned 28 Emmy® Awards. With “Cheers” still airing in worldwide syndication,
Cliff Clavin remains one of television’s most beloved characters.

ABOUT THE CAST

Ratzenberger has reprised his role of Cliff Clavin in “Frasier,” “The Simpsons,” “Blossom,”
“Wings,” “St. Elsewhere,” and eight NBC specials. The accomplished character actor has also
appeared on “8 Simple Rules,” “That ’70s Show,” “Sabrina the Teenage Witch,” “Murphy
Brown,” “The Love Boat,” “Magnum P.I.,” and “Hill Street Blues.” Among his numerous TV
movies are starring roles in “The Pennsylvania Miners Story” for ABC, “A Fare to
Remember,” “Remember Wenn,” PBS Masterpiece Theater’s “The Good Soldier,” and the
BBC’s “Song of a Sourdough” and “Detectives.” Ratzenberger’s big-screen animation success
extends to the small screen in the long-running TBS series “Captain Planet and the Planeteers”
and “The New Adventures of Captain Planet.” Recently, he was a fan favorite on the hit ABC
show “Dancing with the Stars.”
Ratzenberger is currently making the film-festival rounds, promoting “The Village
Barbershop,” winner of the Audience Choice Award at the Cinequest Festival. He recently
kicked off season five of his popular Travel Channel series, “John Ratzenberger’s Made in
America.” Ratzenberger created the show in 2004 to showcase American-made products, a
cause for which he has been very active. Ratzenberger’s nonprofit organization, Nuts, Bolts,
and Thingamajigs Foundation, is positioned to restore esteem and dignity to the manual and
industrial arts and to inspire the next generation of American artisans, inventors, engineers,
repairmen and skilled workers.

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 Voted Ms. Magazine’s “Woman of the Year 2005,” KATHY
NAJIMY (Mary) is an accomplished film, television, and stage
star, with credits ranging from her internationally known portrayal
of Sister Mary Patrick in “Sister Act” and “Sister Act 2: Back in the
Habit” to her 12 seasons as the voice of Peggy Hill on the Emmy®
Award-winning FOX series “King of the Hill.”
Najimy was most recently seen on the CBS drama “Numb3rs.”
Her television credits include three seasons opposite Kirstie Alley as
Olive on NBC’s “Veronica’s Closet” as well as appearances on
Disney’s “The Scream Team” and FOX’s TV special “CinderElmo.”
Najimy received critical acclaim for her three-part arc on “Chicago Hope” and performed the
opening musical number of the 1995 Academy Awards®. She starred in “In Search of Dr.
Seuss” and appeared in several TV series, including “She TV,” “Fool for Love,” “Early
Edition,” and several episodes of “Ellen.”
Winner of the American Comedy Award as Funniest Supporting Actress for her role in
“Sister Act,” Najimy has had numerous roles in films, including “Hocus Pocus,” “RatRace,”
“Hope Floats,” “Nevada,” “Cats Don’t Dance,” “Zack and Reba,” “This Is My Life,” “The
Fisher King,” “Say Uncle,” “Soapdish,” and “The Hard Way.” She also appeared in “The
Wedding Planner,” “It’s Pat,” “Jeffrey,” “The Big K,” and Margaret Cho’s “Bam Bam and
Celeste” and “2 Sisters.”
On stage, Najimy was critically acclaimed for her Broadway portrayal of Mae West in
“Dirty Blonde” and also appeared on Broadway in “The Vagina Monologues.” Her original
off-Broadway hit plays “The Kathy and Mo Show: Parallel Lives” and “The Dark Side,” which
became HBO specials, garnered Obie Awards and CableACE Awards.
Najimy has directed several projects, including an off-Broadway musical, “Back to
Bacharach,” and several one-woman shows.
With more than 20 years of AIDS activism, she has been honored with the L.A. Shanti’s
ABOUT THE CAST

Founder award as well as the L.A. Gay & Lesbian Center’s Distinguished Achievement Award.
Najimy has posed twice for PETA’s popular campaign, “I’d Rather Go Naked than Wear Fur,”
and in 2000, she received PETA’s Humanitarian of the Year Award from Paul McCartney. She’s
served as keynote speaker for more than 50 women’s organizations across the country.
Najimy contributed to the Random House book “The Choices We Made.” She also voiced
Wally Lamb’s novel “She’s Come Undone.”
Up next for the award-winning actress is the Walt Disney Studios Home Entertainment full-
length animated release “Tinker Bell,” for which she voices the Minister of Summer.

34
 With films like “Alien” and “Gorillas in the Mist” in her
repertoire, actor SIGOURNEY WEAVER (Ship’s Computer) has
created a host of memorable characters, both dramatic and comic,
on stage and in film.
Born and educated in New York City, Weaver graduated from
Stanford University and received a master’s degree from the Yale
School of Drama. Her first professional job was as an understudy in
Sir John Gielgud’s production of “The Constant Wife,” starring
Ingrid Bergman.
Weaver made her motion-picture debut in the blockbuster
“Alien,” later reprising the role of Warrant Officer Ripley in “Aliens,” which earned her
Academy Award® and Golden Globe® nominations for Best Actress. She returned to the role
for “Aliens 3” and “Alien Resurrection,” which she also co-produced. Weaver next portrayed
primatologist Dian Fossey in “Gorillas in the Mist,” receiving an Academy Award nomination
and a Golden Globe. Her role in “Working Girl” earned another Academy Award nomination
and a second Golden Globe. Other films include “Ghostbusters,” Peter Weir’s “Year of Living
Dangerously,” Roman Polanski’s “Death and the Maiden,” “Galaxy Quest,” “Heartbreakers,”
“Holes,” Jim Simpson’s “The Guys,” “Imaginary Heroes,” and Showtime’s live-action film
“Snow White,” which earned her an Emmy Award nomination and a Screen Actors Guild
Award® nomination. Her performance in Ang Lee’s “The Ice Storm” garnered a BAFTA
Award. Weaver was nominated for a Golden Globe for Best Actress for “A Map of the World.”
Recent films include “Baby Mama,” “Infamous,” “The TV Set,” “The Girl in the Park,”
“Vantage Point,” and “Snow Cake,” in which Weaver portrays an autistic woman and for which
she received a Proclamation from the City of New York.
On stage, Weaver received a Tony Award® nomination for her starring role in Broadway’s
“Hurlyburly,” directed by Mike Nichols. Other plays include “The Mercy Seat” by Neil
Labute, “The Merchant of Venice,” and Christopher Durang’s “Sex and Longing,” as well as

ABOUT THE CAST

several at The Flea Theater, including “Mrs. Farnsworth” by A.R. Gurney and “The Guys.”
Weaver started her stage career off-off-Broadway in Durang’s “The Nature and Purpose of the
Universe” and “Titanic.” “Das Lusitania Songspiel,” which she co-wrote with Durang, earned
them both Drama Desk nominations.
Weaver recently completed production on the 3-D movie “Avatar,” her first collaboration
with James Cameron since “Aliens,” “Crazy on the Outside,” directed by Tim Allen, and
Lifetime’s “Prayers for Bobby.”
She is on the boards of The Flea Theater in downtown Manhattan, “dedicated to raising a
joyful hell in a small space,” and Human Rights First, where she has worked on the issue of
asylum. Weaver is also an Honorary Chairperson of the Dian Fossey Gorilla Fund
International. She works for other organizations whenever she can, including Conservation
International, amFAR, Trickle Up, the Natural Resources Defense Council, and GRASP.

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 Multiple Academy Award® winner BEN BURTT (WALL•E/
M-O/Sound & Character Voice Designer) joined Pixar Animation
Studios in May 2005. A 30-year veteran and an accomplished
filmmaker, Burtt has written, directed, and served as film editor on
a vast array of projects.
Burtt began his work with director George Lucas in 1977 as
sound designer of the original “Star Wars,” earning his first
Academy Award®—a Special Achievement Award. He rejoined
Lucas 20 years later to supervise the sound work on “Star Wars
Trilogy” (Special Edition).
In addition to his work on the “Star Wars” films, Burtt has worked on many film and
television projects. He has won Academy Awards® for Best Sound Editing in “Raiders of the
Lost Ark” and for Best Sound Effects Editing in “E.T.: The Extra-Terrestrial” and “Indiana
Jones and the Last Crusade.” Burtt has also been recognized for his work with a number of
Academy Award® nominations, including Best Sound in “Star Wars: Episode VI—Return of
the Jedi,” Best Sound and Sound Effects Editing in “Willow,” Best Sound Effects Editing in
“Stars Wars: Episode I—The Phantom Menace,” and, as director of “Special Effects, Anything
Can Happen,” Best Short Subject Documentary.
In addition to his Academy Award® wins and nominations, Burtt has also been awarded a
British Academy Award for Best Sound in “Star Wars: Episode V—The Empire Strikes Back,”
a Golden Reel Award for Best Sound Effects Editing in “Raiders of the Lost Ark,” and a British
Academy Award nomination for Best Sound in “Star Wars: Episode I—The Phantom Menace.”

ABOUT THE FILMMAKERS

ANDREW STANTON (Director/Screenwriter/Vice President, Creative, Pixar

Animation Studios) has been a major creative force at Pixar Animation Studios since 1990,
when he became the second animator and ninth employee to join the company’s elite group of
computer-animation pioneers. As Vice President, Creative, he currently leads the initiatives
and oversees all features and shorts development for the studio.
Stanton made his directorial debut with the record-shattering “Finding Nemo,” an original
story of his that he also co-wrote. The film garnered Stanton two Academy Award®
nominations (Best Original Screenplay and Best Animated Film), and “Finding Nemo” was
awarded an Oscar® for Best Animated Feature Film of 2003, the first such honor Pixar
Animation Studios has received for a full-length feature.
Stanton was one of the four screenwriters to receive an Oscar® nomination in 1996 for his
contribution to “Toy Story” and went on to receive credit as a screenwriter on every
subsequent Pixar film—“A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.,” and “Finding Nemo.”
Additionally, he served as co-director on “A Bug’s Life” and was the executive producer of
ABOUT THE FILMMAKERS

“Monsters, Inc.” and the 2006 Academy Award®-winning “Ratatouille.”

A native of Rockport, Mass., Stanton earned a Bachelor of Fine Arts degree in Character
Animation from California Institute of the Arts (CalArts), where he completed two student
films. In the 1980s, he launched his professional career in Los Angeles, animating for Bill
Kroyer’s Kroyer Films studio and writing for Ralph Bakshi’s production of “Mighty Mouse,
the New Adventures.”

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 JIM MORRIS (Producer/Executive Vice President, Production, Pixar Animation
Studios) joined Pixar Animation Studios in 2005. Morris is responsible for managing the
production of the studio’s features, shorts, DVD content, and theme-park activities. He also
oversees various production departments at Pixar, including Story, Art, Editorial, Animation,
Shading, Lighting, and Technical Direction.
Prior to joining Pixar, Morris held a range of key positions in various divisions of
Lucasfilm Ltd. He served as President of Lucas Digital Ltd. and managed its two divisions,
Industrial Light & Magic (ILM) and Skywalker Sound. As ILM’s General Manager for more
than ten years, he supervised a staff of over 1,400 artists and technicians and guided the largest
visual-effects facility in the entertainment industry.
During Morris’ tenure, ILM created the groundbreaking, Academy Award®-winning visual
effects in “Jurassic Park,” “Death Becomes Her,” and “Forrest Gump.” Other notable projects
completed under his management include “Mission: Impossible,” “Twister,” “Saving Private
Ryan,” “Star Wars: Episode I” and “II,” “The Perfect Storm,” “Pearl Harbor,” “Minority
Report,” “Pirates of the Caribbean,” “Master and Commander,” and the first three “Harry
Potter” films.
Morris joined ILM in 1987 as a producer of visual effects for films and commercials. He
was subsequently promoted to ILM’s executive in charge of production, where he supervised
all of the company’s production. “The Abyss,” which earned an Oscar® for Best Achievement
in Visual Effects, and “Always” are among his producing credits.
Before joining ILM, Morris was executive producer at Arnold & Associates, where he
oversaw the company’s three offices and produced national commercials for clients such as
Atari and Chevron. Prior to that, Morris was executive producer at One Pass, where he headed
the commercial production department. He served in the production departments at J. Walter
Thompson and also Foote, Cone & Belding in San Francisco. Morris worked as a producer
and director for PBS affiliate WCNY-TV and began his career as a cameraman and editor at
NBC affiliate WSYR-TV.
Morris is the recipient of both the Producers Guild of America Digital 50 Award and the
Visual Effects Society Board of Directors Award. He currently serves as president of the San
Francisco Film Commission. Morris earned a Bachelor of Science degree in film and a Master
of Science degree in television and radio from the Newhouse School at Syracuse University.

LINDSEY COLLINS (Co-Producer) joined Pixar Animation Studios in 1997 and has
worked in a variety of production capacities on such films as “A Bug’s Life,” “Toy Story 2,”
“Finding Nemo,” and “Ratatouille.” She also provided the voice of the character Mia in the
2006 Pixar release “Cars.”
Prior to joining Pixar, Collins worked at Disney Feature Animation for three years, managing
creative teams on the films “Pocahontas,” “The Hunchback of Notre Dame,” and “Hercules.”
Collins earned a Bachelor of Arts degree in Diplomacy and World Affairs at Occidental
ABOUT THE FILMMAKERS

College in Los Angeles. She currently resides in Oakland, California, with her husband and
two children.

Moving effortlessly from drama to sharp satire to period classics to animation, THOMAS
NEWMAN (Composer) is building on an amazing family tradition in Hollywood, with a
varied body of work that has earned the praise of filmmakers ranging from Robert Altman to

37
 Gillian Armstrong. To date, Newman has received eight Academy Award® nominations for his
film work: He was the only double nominee in 1994’s Oscar race, receiving nominations for
both “Little Women” and “The Shawshank Redemption,” and he has since received
nominations for his scores from “Unstrung Heroes,” “American Beauty,” “Road to Perdition,”
“Finding Nemo,” “Lemony Snicket’s A Series of Unfortunate Events,” and, most recently,
“The Good German.” Newman also won an Emmy® Award for Outstanding Main Title Theme
Music for HBO’s award-winning drama “Six Feet Under.”
Since the beginning of sound film, the Newman name has been an integral part of the
evolution of film scoring. Newman is the youngest son of the legendary Alfred Newman, a
nine-time Academy Award® winner and 45-time nominee, who, as musical director of
Twentieth Century Fox from the mid-’30s to the early ’60s, was responsible for overseeing or
composing all of the music created for more than 200 films. Uncle Lionel was a composer and
studio music director with more than 50 scores to his credit, and uncle Emil was also a
conductor, with more than four dozen film-score credits. Sister Maria is an acclaimed concert
violinist, brother David has scored more than 60 films, and cousin Randy is a much-beloved
pop songwriter and film composer who scored Pixar’s first four features.
Newman studied composition and orchestration at USC, completing his academic work at
Yale. His greatest mentor, Broadway’s Stephen Sondheim, was deeply impressed with
Newman's originality and championed one of his earliest works, the musical-theater piece
“Three Mean Fairy Tales,” which received a workshop production courtesy of the Stuart
Ostrow Foundation.
Newman also won the support of a young New York casting agent, Scott Rudin, who
brought Newman aboard director James Foley’s 1984 film, “Reckless,” as a musical assistant.
Newman’s initiative on the project soon elevated him to the position of composer, and at age
29, he had successfully scored his first film.
Newman’s reputation for originality and for intensifying mood and character grew rapidly
with such films as “Desperately Seeking Susan,” “The Lost Boys,” “Scent of a Woman,”
“Citizen Cohn,” and more than 40 other major titles, including “Meet Joe Black,” “The Horse
Whisperer,” “Up Close and Personal,” “Phenomenon,” “The People vs. Larry Flynt,” “In the
Bedroom,” “Pay It Forward,” “Erin Brockovich,” “Red Corner,” “How to Make an American
Quilt,” “The Green Mile,” “Jarhead,” “Cinderella Man,” “Fried Green Tomatoes,” and, more
recently, “Little Children” and “Towelhead.” Newman also composed the music for HBO’s
acclaimed six-hour miniseries “Angels in America,” directed by Mike Nichols. He was
commissioned to create a unique seven-minute symphonic piece, “Reach Forth Our Hands,”
for the city of Cleveland, commemorating its bicentennial in 1996.

Multiple Grammy® Award-winning musician PETER GABRIEL co-founded the group

Genesis in 1966. Together, they made seven albums before Gabriel left the group in 1975. He
returned to music a year later and has since made 11 solo albums, including hit singles like
ABOUT THE FILMMAKERS

“Shock the Monkey,” “Sledgehammer,” “Big Time,” and “In Your Eyes.” Gabriel has also
completed film-soundtrack works, including “Birdy,” “The Last Temptation of Christ,” and
“Rabbit Proof Fence.” His “Sledgehammer” video has been voted best video of all time, and
his interactive work “Eve” won the Milia D’Or for Multimedia.
The musician, entrepreneur, and activist is a recipient of the Man of Peace award, presented
by the Nobel Peace Laureates, and the Chevalier dans Ordre des Arts et des Lettres. He has

38
received various lifetime achievement awards and BT’s Digital Music Pioneer Award.
Gabriel founded WOMAD (World of Music Arts and Dance) in 1980, presenting more than
150 festivals in more than 40 countries. Additionally, the WOMAD Foundation has provided
education and workshops to many schools.
Gabriel’s human-rights work includes coordinating and participating in the 1988 Human
Rights Now Tour with Amnesty International. He co-founded Witness.org in 1989 to give
cameras and computers to human-rights activists. Witness.org pioneered the adoption of video
and online technologies in human-rights campaigning. The Hub has just been launched,
providing a platform for human-rights videos from all over the world (a YouTube for human
rights). In 2000, Gabriel co-founded TheElders.org with Richard Branson, which Nelson
Mandela launched in 2007.
His business interests have been in the field of music, media, and technology. In 1987, he
founded the Real World group of companies: Real World Studios, Real World Records, and,
later, Real World Multi Media and Real World Films. Gabriel co-founded OD2 (On Demand
Distribution) in 1999, which became the leading European platform provider for the
distribution of online music. In 2005, Gabriel acquired Solid State Logic with David Engelke,
the world’s leading manufacturer of mixing consoles for music recording, broadcast and post-
production. He also co-founded TheFilter.com and We7.com.

Information contained within as of June 12, 2008.

ABOUT THE FILMMAKERS

39
We, Walt Disney Studios Motion Pictures, grant you, the intended recipient of this press kit, a
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Enterprises, Inc. /Pixar. All rights reserved.