With its first feature-length film in 1995, Toy Story, Pixar changed the face of children's entertainment in Hollywood. Its innovative 3-D computer animation not only looked different, it told stories with a depth and humor that appealed to adults almost as much as kids.
As the second animator hired by the studio, Andrew Stanton has been a constant force in shaping the creative direction of the studio's productions. He has done so to amazing success. Finding Nemo, which Stanton wrote and directed, stands as the highest-grossing G-rated film of all time. Of the top 10 films in that category, Stanton, now vice-president of Pixar's creative division, was writer, director, or producer on five.
With his latest film, WALL•E, about to hit theaters, the Christian filmmaker sat down with WORLD...
WORLD: How does WALL•E represent your singular vision?
STANTON: Well, what really interested me was the idea of the most human thing in the universe being a machine because it has more interest in finding out what the point of living is than actual people. The greatest commandment Christ gives us is to love, but that's not always our priority. So I came up with this premise that could demonstrate what I was trying to say—that irrational love defeats the world's programming. You've got these two robots that are trying to go above their basest directives, literally their programming, to experience love.
With the human characters I wanted to show that our programming is the routines and habits that distract us to the point that we're not really making connections to the people next to us. We're not engaging in relationships, which are the point of living—relationship with God and relationship with other people.
WORLD: The depiction of humanity is pretty stark in this movie.
STANTON: Well, when I started outlining humanity in the story, I asked myself: What if everything you needed to survive—health care, food—was taken care of and you had nothing but a perpetual vacation to fill your time? What if the result of all that convenience was that all your relationships became indirect—nobody's reaching out to each other? A lot of people have suggested that I was making a comment on obesity. But that wasn't it, I was trying to make humanity big babies because there was no reason for them to grow up anymore.
WORLD: Now that you mention people misconstruing your intentions, how do you feel about reports that WALL•E is an environmental movie?
STANTON: People made this connection that I never saw coming with the environmental movement, and that's not what I was trying to do. I was just using the circumstances of people abandoning the Earth because it's filled with garbage as a way to tell my story.
I always knew that I wanted WALL•E to be digging through trash for two reasons: One, I wanted him to be the lowest on the totem pole. It's a janitorial job; it's the saddest, lowest status amongst his kind; and it just makes him that much more of a lonely guy. Two, trash is really visual. Even the littlest kid understands when there's stuff in the way and it needs to be picked up, so I didn't need to spend time explaining his job. And then I just reverse-engineered from there, "OK, if there's trash everywhere, how did it get there?"
Living to serve, learning to love
True, the foundation for the story is that humanity has left the planet heaped in garbage. But far weightier themes—like how technology distances us from the wonder of creation and how that distance cripples us spiritually—play a bigger role. In fact, if Stanton criticizes people for anything, it's for worship of leisure. Because they live to be cared for rather than to care, the few human beings WALL•E meets have become, to use Stanton's words, giant babies—literally feeding on milk rather than solid food. In contrast, And because WALL•E, the meek little trash collector, accepts stewardship in a way that people have rejected. love springs from service, he comes to love the creatures that inhabit Earth. That's not an environmental message, it's a biblical one. —
(excerpted from WALL•E world, enhanced fonts added, June 28, 2008 © 2010 WORLD Magazine)
* Unfortunately, the site may require you to pay for the article in order to read the rest, so you can check out The Little Robot That Could from ChristianityToday instead.
I had no idea Andrew Stanton was a believer. In the article above, he pointed to Christ. He used WALL-E as an example of how serving & loving go hand-in-hand. I like how he says in the other article, "So that was the perfect goal for the loneliest robot on earth, to learn the greatest commandment, to learn to love...The theme that I was trying to tap into was that irrational love defeats life's programming—that it takes a random act of loving kindness to kick us out of our routines and habit."
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