Tangled: Rapunzel • Pascal • Flynn Rider • Maximus • Tiara Rapunzel • Mother Gothel • Wedding Maximus • Baby Rapunzel Peter Debruge (June 18, 2008). "How to build a better robot". Variety. Archived from the original on November 7, 2015.

The coach class with living/shopping spaces has 'S' shapes as people are always looking for "what's around the corner". Stanton intended to have many colorful signs, but he realized this would overwhelm the audience and went with Eggleston's original idea of a small number of larger signs. The premier class is a large Zen-like spa with colors limited to turquoise, cream, and tan, and leads on to the captain's warm carpeted and wooden quarters and the sleek dark bridge. In keeping with the artificial Axiom, camera movements were modelled after those of the Steadicam. a b Sheila Roberts. "Andrew Stanton Interview, WALL-E". MoviesOnline. Archived from the original on June 26, 2008 . Retrieved January 12, 2008.EVE was designed with the help of Apple Inc.'s behind-the-scenes designer Jonathan Ive, who was responsible of the design of the iPod and other Apple devices. [1]

Mattie, Sean (Winter 2014). "WALL·E on the Problem of Technology". Perspectives on Political Science. 43 (1): 12–20. doi: 10.1080/10457097.2013.784576. ISSN 1045-7097. S2CID 144206190. a b List of a Shot: Deconstructing the Pixar Process, 2008 DVD featurette, Walt Disney Studios Home Entertainment a b c d e f g h i j k l m n o p q r s t u v w x "Production notes" (PDF). Walt Disney Pictures. Archived from the original (PDF) on July 11, 2011 . Retrieved July 19, 2008.

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ScoreKeeper Chats With Composer Thomas Newman!!". Ain't It Cool News. September 16, 2008. Archived from the original on September 19, 2008 . Retrieved September 17, 2008. Roger Ebert (December 5, 2008). "The best films of 2008... and there were a lot of them". Chicago Sun-Times. Archived from the original on April 23, 2013 . Retrieved December 9, 2008. a b c Marco R. della Cava (June 24, 2008). " 'WALL-E' focuses on its hero's heart". USA Today. Archived from the original on August 20, 2011 . Retrieved July 21, 2008. Stanton wanted EVE to be at the higher end of technology and asked iPod designer Jonathan Ive to inspect her design. He was very impressed. Her eyes are modelled on Lite-Brite toys, but Pixar chose not to make them overly expressive as it would be too easy to have her eyes turn into hearts to express love or something similar. Her limited design meant the animators had to treat her like a drawing, relying on posing her body to express emotion. They also found her similar to a manatee or a narwhal because her floating body resembled an underwater creature. Stanton also moved the moment where WALL-E reveals his plant (which he had snatched from the self-destructing escape pod) from producing it from a closet to immediately after his escape, as it made EVE happier and gave them stronger motivation to dance around the ship. Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end. Jim Capobianco, director of the short film Your Friend the Rat, created an end credits animation that continued the story – and stylized in different artistic movements throughout history – to clarify an optimistic tone.

Metacritic: 2008 Film Critic Top Ten Lists". Metacritic. Archived from the original on February 24, 2010 . Retrieved December 30, 2008.a b " WALL-E (2008)– Weekend Box Office Results". Box Office Mojo. Archived from the original on December 17, 2008 . Retrieved June 29, 2008. Dade Hayes (December 9, 2008). "Critics Choice favors 'Milk,' 'Button' ". Variety. Archived from the original on December 19, 2008 . Retrieved December 9, 2008. D23 EXPO: WALL-E and EVE Interactive Photo-Op Sneak Peek". Stitch Kingdom. August 12, 2015. Archived from the original on August 15, 2015 . Retrieved May 19, 2016. Justin Chang (December 9, 2008). "L.A. critics wired for 'WALL-E' ". Variety. Archived from the original on December 9, 2009 . Retrieved December 9, 2008.

WALL-E went undeveloped during the 1990s partly because Stanton and Pixar were not confident enough yet to have a feature length film with a main character that behaved like Luxo Jr. or R2-D2. Stanton explained there are two types of robots in cinema: "human[s] with metal skin", like the Tin Man, or "machine[s] with function" like Luxo and R2. He found the latter idea "powerful" because it allowed the audience to project personalities onto the characters, as they do with babies and pets: "You're compelled ... you almost can't stop yourself from finishing the sentence 'Oh, I think it likes me! I think it's hungry! I think it wants to go for a walk!'" He added, "We wanted the audience to believe they were witnessing a machine that has come to life."During production, Burtt had the opportunity to look at the items used by Jimmy MacDonald, Disney's in-house sound designer for many of their classic films. Burtt used many of MacDonald's items on WALL-E. Because Burtt was not simply adding sound effects in post-production, the animators were always evaluating his new creations and ideas, which Burtt found an unusual experience. He worked in sync with the animators, returning their animation after adding the sounds to give them more ideas. Burtt would choose scientifically-accurate sounds for each character, but if he could not find one that worked, he would choose a dramatic if unrealistic noise. Burtt would find hundreds of sounds by looking at concept art of characters before he and Stanton pared it down to a distinct few for each robot. During the credits, EVE and WALL•E are shown to be still together, holding hands as the two observe a large tree, which has grown from the same plant that WALL•E had discovered at the beginning of the film. AFI Awards 2008". American Film Institute. Archived from the original on March 16, 2015 . Retrieved December 31, 2015. Annual ACE Eddie Awards". American Cinema Editors. Archived from the original on June 6, 2009 . Retrieved February 16, 2009. Michael Cieply; Brooks Barnes (October 27, 2008). "Studios Are Pushing Box Office Winners as Oscar Contenders". The New York Times. Archived from the original on May 12, 2011 . Retrieved October 28, 2008.