Looking at a little bit of the story of the film, what is going on in Christopher Robin's life?
Christopher Robin's, we see him as a little boy. The film starts when he's
seven years old and he's saying goodbye to his friends in Hundred Acre Wood and
he's going away somewhere they don't know where but they're throwing a
farewell party for him. And then we see a very quick montage of the, of his life
until our story starts when he's in his forties and he's gone through boarding
school and gone through university and he's met his love and they've become
married and he's had a baby and then he's had to go and fight in the Second
World War and he's come back and then our story really starts where he's
struggling to feel connected with his family, and like a lot of men in that era
is not very close, personally close to his daughter, but he senses that he would
like to be more so I think, but he's struggling, and then Winnie the Pooh appears back in his life to help out.
Yeah, yeah.
And so how does the wife take on having her husband in this place in his life?
I think she, when you see at the beginning that there was a sense of joy between them and love, that their
marriage starts off as a very happy union, and the war pulled them apart,
but there's, a I think she, there's a stoicism in her that was very much
within, that had to be within the women of the time who were losing their, their
partners to battle and she has her own career and she raises the child for
the first years of its life on her own, and I think she's endured that, and when he
comes back and there is something changed in him as though there would be,
I think she has a lot of compassion and understanding and patience for that.
And then as time goes on she sees that the negative effects that that is having on
the family life and also her daughter, and I think she's gently kind of giving
him the signals to suggest that he's, he needs to do something about it because there's a lot at stake to lose.
Well I think everybody grew up loving Winnie the Pooh and Christopher Robin.
What was it about the script that you loved?
I felt like you could really hear those authentic voices of each of those
characters that I remember from the books. The wisdom, the unconscious
innocent wisdom of Pooh that also seemed to be so funny, and full of
witticisms that was peppered throughout the whole thing. But also that was, that
was the grown-up Christopher Robin, we haven't seen this sort of story told
before within this world. So telling a an adult story, a man who was, you
know, distracted by the modern world of today reconnecting with the joy that he
had from being a child and that being quite an adult kind of story, but still very much for the children as well.
And today, and today, it's you know for a
story that's in today's day and age, you know about finding what makes you happy
and what's important and finding that balance is, is it's kind of an incredible story too.
Yes, it's so important. So yes, I found it so endearing, heartfelt and
it's also important. So what was it like for you acting across non-people?
I've done it in the past. I did it in the Star Wars films many times. I had to act with
things that weren't there, so it's, it's not unfamiliar to me. And I didn't, I
didn't get to act with nothing there because I had an amazing little Pooh
Bear and Eeyore and Piglet, and all of the characters were there in teddy bear form
if you like, but they were beautifully made, and they were made, they look like
the characters in our movie. So I got to act with them, and we got to act with
them in the scenes where we were together with the creatures. And then, and
then Marc, our director Marc Forster also had a brilliant idea of casting young
actors mainly just out of drama school to play each of those characters.
So they would be there and they would hold the teddy bears and move them around a
little bit during some of the earlier takes in a scene, and then they would
step to the side and then the visual effects people had different versions of
the, of the Winnie the Pooh. They had a gray one,
one without a head, one that was just a tummy and no arms and legs, and, and so
there was sometimes just a stick with a light, or sometimes nothing at all.
But also always, always, we had those great actors off-camera playing the scene with us.
That would improvise with you as well. That is right, yeah. So are you creating the world
so that it helps you let the imagination take over when it's literally to nothing.
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