In 2008 Pixar made the leap into outer space and released a film named WALL-E, a touching tale about a waste-cleaning robot named WALL-E who works all alone on a garbage covered Earth in 2805. Having spent so many years alone (the other robots having long since broken down), WALL-E has developed an individual consciousness and identity of his own: he salvages items he deems “special” and keeps them in his “home” (such items include an ancient tape copy of Hello, Dolly). The monotony of WALL-E’s life changes dramatically when he discovers a plant seedling; not long afterward, a strange ship arrives bearing a feminine robot named EVE. WALL-E (being very lonely) falls in love and embarks on a huge adventure that, ultimately, will save the long absent human race once and for all.
Composer Thomas Newman had worked very well with director Andrew Stanton on Finding Nemo (2003) and began working on the score as early as 2005 (EVE’s theme was first arranged in 2007). Newman found the score to be a good challenge, as the first portion of the film is largely silent (with no dialogue in the traditional sense). Stanton had originally envisioned a purely orchestral score, but Newman eventually included electronic elements as well. Several scenes also include selections from previously composed works, most notably Hello Dolly! and La vie en rose (as performed by Louis Armstrong) during a sequence between EVE and WALL-E on Earth. Newman’s score was nominated at the Academy Awards for Best Original Score and Best Original Song, but it lost to Slumdog Millionaire (2008).
Interestingly, with the film making several references to Hello Dolly!, it’s cool to note that Thomas Newman’s uncle Lionel Newman (1916-1989) worked on that production.
WALL-E is such an adorable film, and it’s commentary on society (most notably how it deals with consumerism) makes it a must-see for all ages. Please enjoy this behind the scenes look at the score of this film.
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*poster image is the property of Walt Disney/Pixar