Wall-E is a movie released in 2008 and is directed by Andrew Stanton. The sound designer was Ben Burtt. The movie portrays Earth as a massive dumpster with garbage everywhere, and only one small robot, Wall-E, left to inhabit it. Wall-E rummages on the dystopian Earth and is unaware on how life is on the space station where humans now live. Humans are mostly immobile and overweight, as robots do the jobs they used to. A robot, Eve, from the station is sent to Earth to potentially discover any biological life left on Earth. Eve soon runs into Wall-E, and their adventure together begins, as the two try to show Earth still has hope. What is unique about Wall-E is that the majority of the movie involves no human dialogue, as it is mostly the robots
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The sounds heard in the scene vary in volume and location as is seen visually. As the scene cuts, there is silence and then it follows Wall-E as he passes through the scene from left to right. Another cut leads to a moment of silence before Eve starts her engine again to chase Wall-E who is out of scene, but her sound follows until the cut. It is silent again as Wall-E is simply floating. He sees Eve and as we hear his movements to push the fire extinguisher again, the sound is allows us to follow his movements. The cut goes silent and back to Eve as she calls for Wall-E and flies towards him. The shot cuts to silence again, as we see the paths overlay, with Eve coming from the left and Wall-E coming from the right. Wall-E is in a circular motion and we hear it in his engine, as Eve is linear, Wall-E is heard as he goes out of shot. It is not until the two are finally stationary together in a scene that there is a consistent flow of sounds. The shots cut to be over the shoulder respectively as the interaction occurs, as Wall-E pulls out the plant following a brief moment of silence to emphasize Eve’s diegetic computing sounds and vision upon seeing it. Specifically, we witness the red lines indicating the drop off point and the short and sharp beep sounds creating the sense of urgency to deliver this plant. Nonetheless, the scene perspective up until this point for viewers is stationary as it is the characters that enter and leave the shots along with their individual
The sounds heard in the scene vary in volume and location as is seen visually. As the scene cuts, there is silence and then it follows Wall-E as he passes through the scene from left to right. Another cut leads to a moment of silence before Eve starts her engine again to chase Wall-E who is out of scene, but her sound follows until the cut. It is silent again as Wall-E is simply floating. He sees Eve and as we hear his movements to push the fire extinguisher again, the sound is allows us to follow his movements. The cut goes silent and back to Eve as she calls for Wall-E and flies towards him. The shot cuts to silence again, as we see the paths overlay, with Eve coming from the left and Wall-E coming from the right. Wall-E is in a circular motion and we hear it in his engine, as Eve is linear, Wall-E is heard as he goes out of shot. It is not until the two are finally stationary together in a scene that there is a consistent flow of sounds. The shots cut to be over the shoulder respectively as the interaction occurs, as Wall-E pulls out the plant following a brief moment of silence to emphasize Eve’s diegetic computing sounds and vision upon seeing it. Specifically, we witness the red lines indicating the drop off point and the short and sharp beep sounds creating the sense of urgency to deliver this plant. Nonetheless, the scene perspective up until this point for viewers is stationary as it is the characters that enter and leave the shots along with their individual