This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Evil Dead is an American comedy horrorfranchise created by Sam Raimi consisting of five feature films and a television series. The series originally revolves around the grimoire the Necronomicon Ex-Mortis, an ancient Sumerian text that wreaks havoc upon a group of cabin inhabitants in a wooded area in Tennessee.
The film franchise was resurrected in 2013 with Evil Dead, both a reboot and a loose continuation of the series directed by Fede Álvarez, who co-wrote the screenplay with Rodo Sayagues. It was produced by Raimi, Campbell and Tapert, featuring a new protagonist in Mia Allen (Jane Levy). A television series, Ash vs. Evil Dead, premiered on cable network Starz in 2015, lasted for three seasons, and ended in 2018, with Campbell announcing an animatedrevival to be in active development in July 2022.[1] It starred Bruce Campbell as Ash and was executive produced by Campbell, Raimi and Tapert.[2][3] A fifth film in the franchise, titled Evil Dead Rise, was theatrically released on April 21, 2023, with Lee Cronin serving as writer and director, Alyssa Sutherland and Lily Sullivan starring as sisters Ellie and Beth Bixler, Tapert serving as a producer, and Raimi and Campbell both acting as executive producers.[4][5][6][7]
Each film of the franchise has received generally positive reviews from critics, with the original trilogy developing a cult following, and has grossed a collective $300 million worldwide.
Filmed in 1979 and released in 1981, this is the first film in the series. It introduces the series' protagonist Ash, the Book of the Dead, and the Deadites.
Released in 1987, this film is a sequel to the original, continuing where the last film ended (a recap of the previous film is shown in the beginning). This entry shows the horrors of Ash's continuing battle with the Necronomicon Ex-Mortis and the Deadites. It also introduces elements of slapstick humor that came to define the series.
Filmed in 1991 and released in spring of 1993 in the United States, this is the third film in the franchise (and the last featuring Ash Williams taking a lead role so far), taking Ash back in time to England in 1300 AD. The movie has horror attributes, but is based mainly on slapstick and action.
Evil Dead is the title of a film that serves as a soft reboot and a continuation of the Evil Dead franchise. Unlike the first three films, this one does not feature the character of Ash Williams in a major role (Ash only appears briefly in a post-credits scene) and instead follows a new protagonist named Mia Allen. The film is considered a continuation of the franchise, and plans to feature both Ash and Mia in future installments have been discussed.
In October 2019, Raimi announced at the New York Comic Con that a new film was officially green-lit and in development. Robert G. Tapert was set to produce, while Raimi and Campbell served as executive producers only, all under their Ghost House Pictures banner.[8] In June 2020, Lee Cronin was chosen as a director with a script he wrote. Raimi chose the filmmaker from a list of potential directors to continue the franchise. Officially titled Evil Dead Rise, the project was announced to be developed by New Line Cinema and released on HBO Max. Principal photography commenced on June 6, 2021, in New Zealand.[4][6][9] In May 2021, Alyssa Sutherland and Lily Sullivan had been cast in the film,[6] followed by Gabrielle Echols, Morgan Davies, and Nell Fisher in June,[10] and Mia Challis in July.[11] Cronin stated the production was halfway completed by July 2021,[12] and filming concluded on October 27, 2021. The filmmaker stated that the project used over 6,500 liters of fake blood during production.[13]Evil Dead Rise was theatrically released on April 21, 2023.[14][7]
In March 2023, Sam Raimi expressed interest in developing multiple sequels with Bruce Campbell reprising his role as Ash Williams in a starring role, while also expressing hope for future developments also featuring Mia Allen from Evil Dead (2013).[15] Later that month, Campbell stated that after positive experiences as a producer on Evil Dead Rise, he would consider reprising his lead role in a future film if Raimi were to return as director, reversing his previous "retirement" from the role following the cancellation of Ash vs Evil Dead.[16]
By April of the same year, writer/director Lee Cronin stated that he has ideas for a series of future Evil Dead installments serving as direct sequels to Evil Dead Rise, that he hopes to see realized.[17] That same month, Campbell announced that Sam and Ivan Raimi were co-writing a bible to outline the future of the franchise; stating that films that follow will adhere to the overall outline, with current plans including releasing a new film in the franchise "every couple" years, as opposed to the most recent activity of once every decade.[18]
In February 2024, it was announced that a spin-off film is currently in development. Sébastien Vaniček will serve as director from a script he co-wrote with Florent Bernard.[19] Selected by Raimi to helm the new installment in the series, the film's plot is currently under wraps. Sam Raimi and Robert Tapert will serve as producers, with Ghost House Pictures producing the project.[20][21]
In April 2024, it was announced that a spin-off film is currently in development. Francis Galluppi will serve as writer and director. Selected by Raimi to helm the new installment in the series, the film's plot is currently under wraps. Sam Raimi and Robert Tapert will serve as producers, with Ghost House Pictures producing the project.[22]
Ash vs Evil Dead proved to be a critically well-received show, earning a 98% from Rotten Tomatoes. Four days before its premiere, the show was picked up for a second ten-episode season.[24] The series lasted for three seasons (30 episodes) before it was canceled by Starz in April 2018.
Following the cancellation of Ash vs Evil Dead, Bruce Campbell announced he was officially retired from portraying the character of Ash, although he would continue to voice the character in animation. Subsequently, on July 25, 2022, Campbell announced that an animatedrevival of Ash vs Evil Dead was in active development, with Campbell returning as the voice of Ash.[25]
A prototype short film, Within the Woods, was produced by Raimi on a micro-budget to market his concept and acquire funding from producers and studios for a feature-length film. The short was a meager success. Despite this, the release proceeded to spawn the entire franchise.
In January 1978, Bruce Campbell was a college dropout who had just quit his job as a taxicab driver. Sam Raimi was studying literature at Michigan State University with Robert Tapert, who was finishing his economics degree. While putting the finishing touches on It's Murder!, Tapert suggested doing a feature-length film to Raimi. Raimi felt it impossible, stating that they could never acquire the funding. Campbell declared: "I could always move back home." Tapert feared a career in fisheries/wildlife, while Raimi was afraid that he would have to go back to work at his dad's home furnishing store. These were the practical reasons that convinced the three to put forth a feature-length film.[26] The three were big fans of the comedy genre, but they decided not to produce a comedy as they felt "a feature-length yuck fest just didn't compute". A well-noted scene from It's Murder moved Raimi to write the short film Clockwork. The three felt the result was very effective and represented a new direction that their films could take, that of a semi-successful horror film.[27]
This would later lead to research of low-budget horror films at the local drive-in theater. The many films that they watched were the "two films for two dollars," allowing them the chance to document the behavior of what would become their target audience. Campbell said: "The message was very clear: Keep the pace fast and furious, and once the horror starts, never let up. 'The gorier the merrier' became our prime directive." The films they watched included Massacre at Central High and Revenge of the Cheerleaders. The idea to do a "prototype" was commissioned, to prove not only to themselves, but also to potential investors, that they were capable of doing a full-length horror film. The same year, at Michigan State, Raimi had been studying H. P. Lovecraft and was most impressed with Necronomicon, or simply The Book of the Dead. From these rough concepts, he concocted a short story where a group of four friends unwittingly dig up an Indian burial ground and unleash horrific spirits and demons.[28] In the spring of 1978, filming of Within the Woods started over a three-day weekend, on a budget of $1,600.[29]
Within the Woods, as well as serving as a prototype, had impressed the filmmakers. For a marketing strategy, a screening was arranged at their former high school, with a positive response.[30]
Filming was first commissioned for the summer of 1979 in Michigan. In order to organize the budget, Sam Raimi, Robert Tapert and Bruce Campbell bought a few "how to make an independent film" guide publications. The budget was originally to be $150,000, while shooting with a Super 8 camera. However, due to technical difficulties, it was decided to move it up to 16 mm format, as they wanted to film the project in the style of the many low-budget films at the time that had come out in the 1970s.[31] Since they had little experience in the film industry, the three felt they should buy business suits and briefcases as a means to convince investors that they "had all the answers." A man named Andy Grainger, who was a friend of Tapert and owner of a series of movie theaters, was the first primary investor. He stated: "Fellas, no matter what, just keep the blood running." As a tribute to him, there's a scene in the finished film where an old film projector whirs to life and "projects" blood running down the screen.[32]
Most importantly, Grainger provided the name of a distributor in New York City whom they could approach for possible distribution. The company was Levitt-Pickman Films, who most recently was famous for Groove Tube, starring a very young Chevy Chase. The filmmakers took a train at $40 each, as they knew none of their cars could make an entire round trip. One of Campbell's old girlfriends named Andrea allowed them to stay at her apartment. Andrea's cat fell asleep on Raimi's face without even disturbing him; Raimi, who is allergic to cats, had his eyes swollen shut.[32]
Po, a clumsy panda bear, is a kung fu fanatic who lives in the Valley of Peace and works in his goose father Mr. Ping's noodle shop, unable to realize his dream of learning the art of kung fu. One day, a kung fu tournament is held for the elderly spiritual leader of the valley, Grand Master Oogway, to determine the identity of the Dragon Warrior, the one kung fu master capable of understanding the secret of the Dragon Scroll, which is said to contain the key to limitless power. Everyone in the valley expects the Dragon Warrior to be one of the Furious Five—Tigress, Monkey, Mantis, Viper, and Crane—a quintet of kung fu warriors trained by Master Shifu to protect the valley. To everyone's surprise, Oogway chooses Po, who has accidentally stumbled into the tournament arena after arriving late via fireworks explosion.
Refusing to believe that Po can be the Dragon Warrior, Shifu subjects Po to torturous training exercises in order to discourage him into quitting. Determined to change himself into someone he can respect, Po perseveres in his training and befriends the Furious Five, who had previously mocked Po for his lack of skill in kung fu. Po soon learns that the valley is being approached by Tai Lung, an evil kung fu warrior who has escaped from prison to take revenge for being denied the Dragon Scroll, and despairs he will be unable to defeat him. However, Shifu discovers that Po is capable of martial arts when motivated by food, and successfully trains him to learn kung fu. After his training is complete, Po is given the Dragon Scroll, which he discovers to be blank. However, Po realizes that the key to limitless power lies within himself, allowing him to defeat Tai Lung and restore peace to the valley.
Po now lives his dream as a kung fu master and protects the Valley of Peace alongside the Furious Five. However, he is thrown into internal conflict when he begins having flashbacks of his mother and learns from Mr. Ping that he was adopted as an infant. Shortly after, Po and the Five are sent on a mission to stop the evil peacock Lord Shen from using a newly developed weapon, the cannon, to conquer all of China and destroy kung fu tradition. Po remains tormented by thoughts of being abandoned by his real parents until he is guided by a wise old soothsayer to embrace his past, and remembers that his parents risked their lives to save him from Shen, who had set out to exterminate all pandas after learning of a prophecy that he would be defeated by "a warrior of black-and-white". Po achieves inner peace, which allows him to destroy Shen's new weapon, defeat Shen, and accept Mr. Ping as his father. However, during the last scene of the movie, it shows Po's biological father realizing his son is alive.
Shortly after the events of the second film, Shifu relinquishes his duties as master of the Jade Palace to Po, claiming that the next step of his own apprenticeship is to oversee the Furious Five's training. While struggling with this new responsibility, Po rejoices upon reuniting with his biological father, Li, though Mr. Ping is less enthusiastic. However, news arrives that the spirit warrior General Kai has returned to the mortal realm and is 'collecting' Kung Fu masters from all over China, both living and dead, to serve in his army of Jade Zombies. Po and the others discover from a scroll left by Oogway that Kai can only be defeated by the power of Chi, a technique known only by the panda colonies; thus, Po and Li set to the secret Panda Valley in order to have Po learn it. Po eventually discovers, to his horror, that Li had deceived him, because the pandas have long forgotten about how to manipulate the Chi, and he just wanted to protect his son from Kai. Once making amends with both his adoptive and biological fathers, Po joins forces with Ping, Tigress, and the pandas to make a stand against Kai, all mastering the power of Chi in the process and using its power to destroy him for good. After returning to the Valley of Peace, Po spends his days spreading the teachings of Kung fu and Chi.
Shifu tasks Po to retire as the Dragon Warrior and find a successor as he must advance to become the Spiritual Leader of the Valley of Peace. Disappointed, he struggles to find the right candidate angering Shifu. He later spots a thief named Zhen entering the Jade Palace and sends her to prison but soon learns that Tai Lung has returned. Zhen reveals that it wasn't actually Tai Lung but a shapeshifting sorceress named The Chameleon. Po decides to go after her and Zhen agrees to lead him to the Chameleon in exchange for a reduction of her sentence. They both head towards Juniper City and there, Po finds that Zhen is a wanted criminal, leading to both of them getting arrested. They successfully escape to the Den of Thieves where Zhen reunites with her old mentor Han who allows them to stay there for one day. Po and Zhen then enter Chameleon's lair, where Zhen betrays Po, takes the Staff of Wisdom and gives it to the Chameleon, who is revealed to be her master. Po manages to escape without the staff but Chameleon, who has shapeshifted into Zhen, throws him off of the cliff and Po gets saved by his adoptive and biological father. The Chameleon uses the staff to summon every martial arts master from the Spirit Realm, stealing their kung fu abilities and locking them in cages. Zhen decides to deflect away from Chameleon and reunites with Po. Zhen later manages to convince the Den of Thieves to help her out in saving Po. Zhen and Po defeat the Chameleon and return the stolen Kung fu to their masters. Po sends them back to the spirit realm with Tai Lung taking the Chameleon with him. At the Valley of Peace, Po chooses Zhen as the next Dragon Warrior and the Furious Five joins him in training her.
Kung Fu Panda Holiday (also known as Kung Fu Panda Holiday Special) is a 2010 television special that premiered on NBC on November 24. It tells a story of Po, who is assigned to host the annual Winter Feast by Master Shifu, despite his wishes to spend the holiday with Mr. Ping.
Kung Fu Panda: Legends of Awesomeness (2011–2014; 2016)[edit]
Kung Fu Panda: Legends of Awesomeness is an animated television series based on the Kung Fu Panda film series, set between the first two films. The show was originally intended to premiere in 2010, but was delayed and officially launched on Nickelodeon on November 7, 2011. Of the series's voice cast, only Lucy Liu, Randall Duk Kim, and James Hong reprise their roles from the films as Viper, Oogway, and Mr. Ping, respectively. The first season, consisting of 26 episodes, ended on April 5, 2012. The second season aired from April 6, 2012, to June 21, 2013, and also consisted of 26 episodes. A third season consisting of 28 episodes began airing June 24, 2013, going on an extended hiatus after June 22, 2014, before airing its last 10 episodes two years later, from February 15 to June 29, 2016, as a tie-in to the theatrical run of Kung Fu Panda 3.
Kung Fu Panda: The Paws of Destiny (2018–2019)[edit]
Kung Fu Panda: The Paws of Destiny is the second Kung Fu Panda animated series, set after the events of Kung Fu Panda 3. Across 26 episodes produced by DreamWorks Animation Television with Amazon Studios and ordered, and aired by Amazon Prime Video, the series was released in its 13-episode first season's first part on November 16, 2018, and its 13-episode first season's second and final part on July 4, 2019.[3] The series follows Po on a fresh adventure, mentoring four young pandas (Nu Hai, Jing, Bao and Fan Tong), who happen upon a mystical cave beneath the Panda Village - and accidentally absorb the chi of the ancient and powerful Kung Fu warriors known as the four constellations. The four friends realize that they now have a new destiny - to save the world from an impending evil with their new-found Kung Fu powers. They are aided along their journey by Po, who finds himself faced with his biggest challenge yet - teaching this ragtag band of kids how to wield their strange powers.
Kung Fu Panda: The Dragon Knight (2022–2023)[edit]
Kung Fu Panda: The Dragon Knight is the third Kung Fu Panda animated series, which premiered on Netflix on July 14, 2022, with Jack Black reprising his role as Po.[4][5] The series follows Po as he must leave his home behind and embark on a globe-trotting quest for redemption and justice that finds him partnered up with a no-nonsense English knight known as the Wandering Blade. Rita Ora joined the cast as Wandering Blade and James Hong reprised his role as Mr. Ping.[6]
Kung Fu Panda: Secrets of the Furious Five, or simply Secrets of the Furious Five, is an animated short film that serves as a semi-sequel (or spin-off) to Kung Fu Panda and appears on a companion disc of the original film's deluxe DVD release. It was later broadcast on NBC on February 26, 2009, and is available as a separate DVD as of March 24 the same year. The film has a framing story of Po (in computer animation), telling the stories of his comrades in arms, the Furious Five, which are depicted in 2D cel animation.
Kung Fu Panda: Secrets of the Masters (2011)[edit]
Kung Fu Panda: Secrets of the Masters is an animated short film released on December 13, 2011, as a special feature attached to the Kung Fu Panda 2 DVD and Blu-ray. It tells the backgrounds of the masters of Gongmen City: Thundering Rhino, Storming Ox, and Croc.[7]
Kung Fu Panda: Secrets of the Scroll is an animated short film officially released as a bonus feature in the Kung Fu Panda: Ultimate Edition of AwesomenessBlu-ray pack in January 2016.[8]Secrets of the Scroll details the forming of the Furious Five, and their first fight together against a common enemy. Unlike previous Kung Fu Panda[citation needed] short films, Secrets of the Scroll has yet to be released on its own DVD or Blu-ray.
Panda Paws is a short film that was released with the home media of Kung Fu Panda 3. Panda Paws involves the character Mei Mei (voiced by Kate Hudson) competing with Bao at the "Spring Festival". A version of the short was previously released in theaters preceding the DreamWorks Animation film Home in 2015, with Rebel Wilson voicing Mei Mei, prior to her firing from Kung Fu Panda 3.[9]
Dueling Dumplings is a short film that was released with the home media of Kung Fu Panda 4. It involves Po and Zhen offering each other dumplings from their respective homelands. They bicker over whose are better and try to force each other to try them. After a playful battle, they end up tasting each other's dumplings and end up liking them.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
After directing Finding Nemo, Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space. WALL-E has minimal dialogue in its early sequences; many of the characters in the film do not have voices, but instead communicate with body language and robotic sounds that were designed by Burtt. The film incorporates various topics including consumerism, corporatocracy, nostalgia, waste management, human environmental impact and concerns, obesity/sedentary lifestyles, and global catastrophic risk.[6] It is also Pixar's first animated film with segments featuring live-action characters. Thomas Newman composed the film's musical score. The film cost $180 million to produce, a record-breaking sum for an animated film at the time. Following Pixar tradition, WALL-E was paired with a short film titled Presto for its theatrical release.
In 2021, WALL-E became the second Pixar feature film (after Toy Story) to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16] In September 2022, at the request of Stanton, Disney licensed WALL-E to The Criterion Collection, who re-released the film as a special edition 4K Blu-Ray-standard Blu-ray combo pack on November 22, 2022, marking the first Pixar film to ever receive such an honor.[17][18]
In the 29th century, Earth is a garbage-strewn wasteland due to an ecocide, caused by rampant consumerism, corporate greed, and environmental neglect.[19]
Humanity is nowhere to be seen, having been evacuated by the megacorporation Buy n Large (BnL) to space on giant starliners, leaving trash compacting robots to clean up the planet, seven hundred years prior. All the robots on earth have since stopped functioning and the last remaining active robot, a Waste Allocation Load Lifter: Earth-class (WALL·E), has developed a personality. WALL·E remains active by salvaging parts from other inactive robots and lives with his pet cockroach as his only companion in a large robot carrier truck.
One day, WALL·E's routine of compressing trash and collecting interesting objects is broken by the arrival of an unmanned rocket probe carrying an egg-shaped robot called an Extraterrestrial Vegetation Evaluator (EVE), which is sent to scan the planet for signs of sustainable life. WALL·E is smitten by the sleek, otherworldly robot, and the two begin to connect, until EVE goes into standby mode when WALL·E shows her his most recent find: a living seedling. The probe ship eventually returns and collects EVE and the plant, with WALL·E clinging on in fear of losing her. The probe ship then returns to its mothership, the starliner Axiom.
In the centuries since the Axiom left Earth, its passengers have degenerated into helpless obesity due to microgravity and laziness, with robots catering to their every whim. Even Captain B. McCrea is used to sitting back while his robotic AI autopilot helm, nicknamed AUTO, pilots the ship. McCrea is unprepared to receive the positive probe response, but discovers that placing the plant in the ship's Holo-Detector will trigger a hyperjump back to Earth so that humanity can begin recolonization. When McCrea inspects EVE's storage compartment, the plant is missing, with EVE blaming WALL·E for its disappearance.
EVE is deemed faulty and taken to diagnostics. Mistaking the process for torture, WALL·E intervenes and inadvertently releases all the other faulty bots, causing him and EVE to be designated as rogue robots. Frustrated, EVE tries to send WALL·E home in an escape pod, but before she can, the two witness McCrea's first mate robot, GO-4, stowing the plant in a pod set to self-destruct, revealing that WALL·E did not steal the plant. WALL·E enters the pod to retrieve the plant just as it launches, but both he and the plant survive unscathed. EVE catches up to him and they reconcile, celebrating with a dance in space around the Axiom.
EVE brings the plant back to McCrea, who watches her recordings of Earth, concluding that they can and must save it. However, AUTO reveals that he has been ordered to not return to Earth by a secret no-return directive A113, issued by BnL CEO Shelby Forthright, also revealing that GO-4 attempted to dispose of the plant on AUTO's instruction. When McCrea goes against the directive, AUTO and GO-4 electrocute WALL·E, forcefully puts EVE into standby, throws them both down a garbage chute and confines McCrea to his quarters. EVE (having been reactivated by a mouse-like robot) and WALL·E are nearly ejected into space with the ship's refuse, but Microbe Obliterator (M-O), a cleaning robot who had been following WALL·E's dirt trail across the ship since his arrival, inadvertently jams the door and saves the two, prompting the Waste Allocation Load Lifter: Axiom-class (WALL·A) garbage bots to abort the ejection. As humans and robots help in securing the plant, McCrea and AUTO fight for control of the Axiom. AUTO crushes WALL·E using the Holo-Detector in a last-ditch attempt to keep the human passengers in space; McCrea eventually overpowers and deactivates AUTO by switching him to manual mode, and EVE successfully inserts the plant, initiating the hyperjump.
Arriving back on Earth, EVE quickly repairs WALL·E, but finds that his memory and personality have been erased. Heartbroken, EVE gives WALL·E a goodbye "kiss", which releases a static electricity shock, restoring him to his normal self. WALL-E and EVE reunite as the Axiom inhabitants take their first steps on Earth. Humans and robots turn the ravaged planet into a paradise, and the plant grows into a mighty tree, which WALL·E and EVE rest beneath.
Ben Burtt as WALL·E (Waste Allocation Load Lifter: Earth-class),[20] a compactor robot who has achieved sentience, he is the only one still functioning on Earth. He is a small mobile compactor box accompanied by his cockroach friend Hal. He collects trinkets from the garbage and displays them at his home, where he watches a video cassette of 20th Century Studios' Hello, Dolly!, mimicking the dance sequences.
Burtt also voices M-O (Microbe-Obliterator), a cleaning robot.
Elissa Knight as EVE (Extraterrestrial Vegetation Evaluator),[20] a glossy white egg-shaped probe robot with blue LED eyes, whose directive is to verify the habitability of planets for humans. She moves using antigravity and is equipped with scanners, specimen storage, and a cannon which she is quick to use.
Jeff Garlin as Captain B. McCrea, the captain of the Axiom. (While McCrea's name was never spoken, it does appear on a portrait of him in his quarters. He is only ever referred to as the Captain.)
MacInTalk, the text-to-speech program for Apple Macintosh computers, is the voice of AUTO, the Axiom's villainous AI autopilot which handles command functions of the ship. Loyal only to directive A113, he and GO-4 are the only computers not influenced by WALL-E.
John Ratzenberger and Kathy Najimy as John and Mary, who live on the Axiom, so dependent on their automatic services as to be oblivious to their surroundings. They are brought out of their trances by encounters with WALL-E and fall in love with each other.
Sigourney Weaver as the Axiom's computer. Stanton joked to Weaver: "You realize you get to be 'Mother' now?"[21][22] referring to the ship's computer in the film Alien, starring Weaver.[22]
Fred Willard as Shelby Forthright, CEO of the Buy n Large Corporation and President of Earth. The only major live-action character, appearing only in videos recorded around the time of the Axiom's launch in the 22nd century. Forthright proposed the plan to evacuate Earth's population and then clean up the planet so they could return within five years. Discovering that Earth had become too toxic to support life, the cleanup and recolonization were abandoned. Forthright issued directive A113 preventing anyone from returning to Earth. As of 2024, Forthright is the only live-action character with a speaking role in any Pixar film.
M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can't resist.
M-O (bleeps): [Look, it stays clean. You got that?]
Wally wipes the bottom of his tread on M-O's face.
M-O loses it.
Scrubs his own face.
—Stanton wrote the screenplay to focus on the visuals and as a guide to what the sound effects needed to convey[23]
As depicted in the teaser trailer, Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story was near completion and the writers brainstormed ideas for their next projects—A Bug's Life, Monsters, Inc., and Finding Nemo—at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"[21] Having struggled for many years with making the characters in Toy Story appealing, Stanton found his simple Robinson Crusoe-esque idea of a lonely robot on a deserted planet strong.[24][25] Stanton made WALL·E a waste collector as the idea was instantly understandable, and because it was a low-status menial job that made him sympathetic.[26] Stanton also liked the imagery of stacked cubes of garbage.[27] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.[28]
Stanton and Docter developed the film under the title of Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monsters, Inc. instead.[29][30] Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.[31] Before they turned their attention to other projects, Stanton and Lasseter thought about having WALL-E fall in love, as it was the necessary progression away from loneliness.[28] Stanton started writing WALL-E again in 2002 while completing Finding Nemo.[32] Stanton formatted his script in a manner reminiscent of Dan O'Bannon's Alien. O'Bannon wrote his script in a manner Stanton found reminded him of haiku, where visual descriptions were done in continuous lines of a few words. Stanton wrote his robot "dialogue" conventionally, but placed them in brackets.[25] In late 2003, Stanton and a few others created a story reel of the first twenty minutes of the film. Lasseter and Steve Jobs were impressed and officially began development,[33] though Jobs stated he did not like the title, originally spelled "W.A.L.-E."[34]
While the first act of WALL-E "fell out of the sky" for Stanton,[28] he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was different. When WALL-E comes to the Axiom, he incites a Spartacus-style rebellion by the robots against the remnants of the human race, which were cruel alien Gels (completely devolved, gelatinous, boneless, legless, see-through, green creatures that resemble Jell-O). James Hicks, a physiologist, mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period.[21][35][36] Therefore, this was the inspiration of the humans degenerating into the alien Gels,[37] and their ancestry would have been revealed in a Planet of the Apes-style ending.[38] The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.[39] The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and the Axiom curled up into a ball when returning to Earth in this incarnation of the story.[39] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".[38] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",[38][40] wanting WALL-E and EVE's relationship to inspire humanity because he felt few films explore how utopian societies come to exist.[41] The process of depicting the descendants of humanity as the way they appear in the movie was slow. Stanton first decided to put a nose and ears on the Gels so the audience could recognize them. Eventually, fingers, legs, clothes, and other characteristics were added until they arrived at the concept of being fetus-like to allow the audience to see themselves in the characters.[39]
In a later version of the film, AUTO comes to the docking bay to retrieve EVE's plant. The film would have its first cutaway to the captain, but Stanton moved that as he found it too early to begin moving away from WALL·E's point-of-view. As an homage to Get Smart,[42] AUTO takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large's scheme to clean up the Earth falling apart through the years. Stanton removed this to keep some mystery as to why the plant is taken from EVE. The captain appears to be unintelligent, but Stanton wanted him to just be unchallenged; otherwise he would have not been sympathetic.[37] One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside-down, only to fix it before he challenges AUTO. In the finished film, he merely wears it casually atop his head, tightening it when he really takes command of the Axiom.[39]
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. Originally, EVE would have been electrocuted by AUTO, and then be quickly saved from ejection at the hands of the Waste Allocation Load Lifter: Axiom-class (WALL·A) robots, by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 test screening, as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL-E, and it made WALL-E even more heroic if he held the holo-detector open despite being badly hurt.[37] The idea of WALL-E losing his memory and personality came after the braintrust team abandoned a scene where EVE had been shot in her heart battery and WALL-E gave her his own battery instead.[43] 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 Ratatouille 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.[44]
WALL-E was the most complex Pixar production since Monsters, Inc. because of the world and the history that had to be conveyed.[24] Whereas most Pixar films have up to 75,000 storyboards, WALL-E required 125,000.[45]Production designerRalph Eggleston wanted the lighting of the first act on Earth to be romantic, and that of the second act on the Axiom to be cold and sterile. During the third act, the romantic lighting is slowly introduced into the Axiom environment.[21] Pixar studied Chernobyl and the city of Sofia to create the ruined world; art director Anthony Christov was from Bulgaria and recalled Sofia used to have problems storing its garbage.[46][47] Eggleston bleached out the whites on Earth to make WALL-E feel vulnerable. The overexposed light makes the location look more vast. Because of the haziness, the cubes making up the towers of garbage had to be large, otherwise they would have lost shape (in turn, this helped save rendering time). The dull tans of Earth subtly become soft pinks and blues when EVE arrives. When WALL-E shows EVE all his collected items, all the lights he has collected light up to give an inviting atmosphere, like a Christmas tree. Eggleston tried to avoid the colors yellow and green so WALL-E—who was made yellow to emulate a tractor—would not blend into the deserted Earth, and to make the plant more prominent.[48]
WALL·E finds a bra. Roger Deakins and Dennis Muren were consulted on realistic lighting including backgrounds that are less focused than foregrounds.
Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth. He thought that Pixar captured the physics of being underwater with Finding Nemo and so for WALL·E, he wanted to push that for air. While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of 70 mm film and its barrel distortion, lens flare, and racking focus.[24] Producer Jim Morris invited Roger Deakins and Dennis Muren to advise on lighting and atmosphere. Muren spent several months with Pixar, while Deakins hosted one talk and was requested to stay on for another two weeks. Stanton said Muren's experience came from integrating computer animation into live-action settings, while Deakins helped them understand not to overly complicate their camerawork and lighting.[41] 1970s Panavision cameras were used to help the animators understand and replicate handheld imperfections like unfocused backgrounds in digital environments.[21] The first lighting test included building a three-dimensional replica of WALL-E, filming it with a 70 mm camera, and then trying to replicate that in the computer.[49] Stanton cited the shallow lens work of Gus Van Sant's films as an influence, as it created intimacy in each close-up. Stanton chose angles for the virtual cameras that a live-action filmmaker would choose if filming on a set.[28]
Stanton wanted the Axiom's interior to resemble Shanghai and Dubai.[24] Eggleston studied 1960s NASA paintings and the original concept art for Tomorrowland for the Axiom, to reflect that era's sense of optimism.[21] Stanton remarked "We are all probably very similar in our backgrounds here [at Pixar] in that we all miss the Tomorrowland that was promised us from the heyday of Disneyland," and wanted a "jet pack" feel.[24] Pixar also studied the Disney Cruise Line and visited Las Vegas, which was helpful in understanding artificial lighting.[21] Eggleston based his Axiom designs on the futuristic architecture of Santiago Calatrava. Eggleston divided the inside of the ship into three sections; the rear's economy class has a basic gray concrete texture with graphics keeping to the red, blue, and white of the BnL logo. 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 wooded quarters and the sleek dark bridge.[48] In keeping with the artificial Axiom, camera movements were modeled after those of the steadicam.[50]
The use of live action was a stepping stone for Pixar, as Stanton was planning to make John Carter of Mars his next project.[24] Storyboarder Derek Thompson noted introducing live action meant that they would make the rest of the film look even more realistic.[51] Eggleston added that if the historical humans had been animated and slightly caricaturized, the audience then would not have been able to recognize how serious their devolution was.[48] Stanton cast Fred Willard as the historical Buy n Large CEO because "[h]e's the most friendly and insincere car salesman I could think of."[38] The CEO says "stay the course", which Stanton used because he thought it was funny and a "natural thing to say at the time".[52]Industrial Light & Magic did the visual effects for these shots.[21]
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., the Pixar lamp or R2-D2.[25] 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!'"[53] He added, "We wanted the audience to believe they were witnessing a machine that has come to life."[21] The animators visited recycling stations to study machinery, and also met robot designers, visited NASA's Jet Propulsion Laboratory to study robots, watched a recording of a Mars rover,[32] and borrowed a bomb detecting robot from the San Francisco Police Department. Simplicity was preferred in their performances as giving them too many movements would make them feel human.[21]
Stanton wanted WALL·E to be a box and EVE to be like an egg.[54] WALL·E's eyes were inspired by a pair of binoculars Stanton was given when watching the Oakland Athletics play against the Boston Red Sox. He "missed the entire inning" because he was distracted by them.[55] The director was reminded of Buster Keaton and decided the robot would not need a nose or mouth.[56] Stanton added a zoom lens to make WALL-E more sympathetic.[56]Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality.[48] Pixar's studies of trash compactors during their visits to recycling stations inspired his body.[21] His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
