Did you set out to do that, to make them feel a little bit more fantastic? The scenes in the woods look different than the rest of the film. They have to learn to love each other, and I think seeing the beats of that is something I’m very proud of in the film. I think because so much of it happens in the woods, and also the heart of the film is this gorgeous, almost love affair between a father and son. And one of the ways he did that was to connect with his son and together create these stories. Milne’s head, because it was an attempt to get out, to recover from the trauma of war. We did decide to have just a few fragments of scenes from the war just to reiterate what was inside of A.A. How do you make those things cinematic? How do you turn something that’s all in someone’s head into something visual? I’m sure you discovered your own surprises about this story, but I had no idea this story was born of trauma or about the healing quality that the books had. I was read it by my parents and I read it to my kids, but nothing beyond that. So did you have much of a connection to the story before that? No, there was a script that I was sent, and I just loved it. So which came first with this story? Was this a story that always fascinated you?
I remember it was fixed fairly quickly, and it was still a lovely conversation. Was that the screening where the film started without the subtitles? I don’t know if you remember, but we did the Q&A when you were here for Woman In Gold. I sat down with Curtis in Chicago recently to discuss his connection to the creation story and Winnie-the-Pooh in general, and how class status figures into the Milne family story. The film, now playing in Chicago, also stars Margot Robbie as mother/wife Daphne and Kelly Macdonald as Nanny Olive, who ends up being the only person in the boy’s life truly looking out for him.
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The movie is also a cautionary tale about becoming the world’s first internationally known child star and the perils of answering to fans while trying to keep some modicum of privacy and normal family living. Suffering from PTSD after serving in the trenches of the First World War, Milne wrote the Pooh books as a means of giving the nation-and himself-something to be happy about, losing himself in his son’s fantasy world of stuffed animals and simple adventure stories. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved Director Simon Curtis and Will Tilston on the set of GOODBYE CHRISTOPHER ROBIN.
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