Exclusive Interview with Simon Curtis about ‘Goodbye Christopher Robin’
Filmmaker Simon Curtis gave us one of the best adaptations of the Charles Dickens’ novel “David Copperfield” back in 1999, he brought Marilyn Monroe back to life along with the help of Michelle Williams with “My Week with Marilyn,” and he directed Helen Mirren to one of her many great performances in “Woman in Gold.” Now he gives us his latest directorial effort, “Goodbye Christopher Robin,” which looks at the creation of Winnie-the-Pooh and the other characters who inhabit the 100 Acre Wood. But while it looks to be a simple biopic focusing on the creation of classic literature, it also proves to be an examination of the scars war leaves behind, the importance of having a regular childhood, and of the damages fame can cause before others can realize it.
I got to speak with Curtis while he was in Los Angeles recently, so please feel free to check out the interview below.
Ben Kenber: From a distance, this movie looked like it would be a simple story of how A.A. Milne came up with Winnie-the-Pooh, but what I really liked though was how the story developed from the effects of fame to a childhood being stolen. Was this inherent in the screenplay (written by Frank Cottrell-Boyce and Simon Vaughan) when you first read it?
Simon Curtis: That’s a good comment. Yes is the answer. I loved the script from the get-go because you think it’s going to be exactly that, but it is about so many other things: family and creation and the impact of war. And yes, Christopher Robin was almost like the prototype child celebrity. And to be fair to the Milne family, it was such an unknown territory. They couldn’t have predicted that the stories would become so popular and the attention it would bring to the boy.
Ben Kenber: There’s no way they could have been prepared for it, and this is what makes A.A. Milne and his wife, Daphne, so incredibly complex. On one hand, you want to get mad at them for robbing Christopher of his childhood, but at the same time, they both come to realize the damage being done. But by the time they stop it, it is too late.
Simon Curtis: Yes, that’s right.
Ben Kenber: I found it very fascinating, and I liked how the movie deals with the PTSD flashbacks. If you’re in a theater with really good sound, you feel the impact of each bang and balloon pop.
Simon Curtis: Yeah, you do. I was trying to make the point that war doesn’t only impact on the men and the women who fight in the war, but their families and their descendants as well. So, the boy is a victim of World War I even though he wasn’t born until it ended.
Ben Kenber: When it comes to introducing the stuffed animals, I loved how Margot Robbie and Domhnall Gleeson introduced them. She had the voices, and he came up with Eeyore’s name. Was there anything about the stuffed animals which you wanted to include in the movie but were unable to?
Simon Curtis: I don’t think so. I love how it’s this almost accidental thing that they buy bear at Harrods or wherever it was, and suddenly it becomes this iconic thing. One of my favorite moments, in terms of when she first gives him the tiger and she says “happy” and then she hands it to him. Then the father says, “Well what should we call it?” “Tigger.” “Why?” “Because it’s more tiggerish” (laughs). It’s just lovely writing.
Ben Kenber: It is. The names all come by accident. It is not some pre-destined thing.
Simon Curtis: Absolutely. They were just little puppets, and that’s the great thing about art. There’s a surprising element to it.
Ben Kenber: A.A. Milne is very eager to say something about war and reality. The interesting thing is, in terms of the way the Pooh stories were written, he found a way of dealing with reality of writing readers with an escape from it.
Simon Curtis: Yes, good.
Ben Kenber: The young actor who plays Christopher Robin Milne, Alex Lawther, was excellent, and he is a very tough role to play here as you see him revel in seeing this stuff animals come to life, and yet he is thrust into a spotlight you couldn’t be less prepared to deal with. Was it hard casting this role?
Simon Curtis: It was lengthy. But I cast a nine-year-old boy would never acted before, do you know that was? Daniel Radcliffe (Curtis cast him in “David Copperfield”), and he had never acted before, so that gave me some confidence. But this boy Alex was a joy and a gift. He was fantastic.
Ben Kenber: Domhnall Gleeson brings a lot of depth to this role.
Simon Curtis: He does.
Ben Kenber: He has scenes where he says one thing, but his eyes have to say something else. How do direct an actor in scenes like those?
Simon Curtis: I don’t know is the answer. You just try to make every scene as good as possible and help the actor to do their best work, and Domhnall is one of those actors who thinks a great deal about it in advance. It brings a lot to the dad, and he was a real partner. The film improved because of his work in the scenes and elsewhere.
Ben Kenber: Margot Robbie has a very tricky part to play here because in some cases the audience may find her to be not for a likable, but she does come across as a very loving mother. It’s a British thing that they hold back. Some of my friends said Daphne is not very likable.
Simon Curtis: But that’s missing the point because that’s the way people were. Not everyone has to be likable in the world, and that’s the way people were mothers in those days. They had the baby, handed it over to a nanny, and waited for the wedding.
Ben Kenber: I always tell people it is not a question of whether a character is likable or not in a movie. It’s whether or not they are interesting.
Simon Curtis: Exactly.
Ben Kenber: Robbie’s performance is really good because she delves into the unlikable parts of her character, but you never doubt the love Daphne has for her son.
Simon Curtis: Yes, and she doesn’t shy away from it. She has such natural warmth herself as a woman, and that kind of balances it out on another level.
Ben Kenber: For many years, there has been a long battle between the Milne family and Walt Disney over the rights to the Winnie-the-Pooh stories. Was this something you considered including in this film?
Simon Curtis: No because that’s in the future, that story.
Ben Kenber: The movie’s ending could have been too sentimental with two characters hugging, but they don’t hug and I like that they didn’t because it would’ve seemed too manipulative.
Simon Curtis: Yeah, that’s England. Someone said astutely I thought how in England we are the world storytellers from Shakespeare to JK Rowling, but we can’t say I love you to our kids (laughs).
Ben Kenber: I loved the scene where A.A. Milne tells Christopher you will not write another word about Winnie-the-Pooh. The way the same was played was brilliant because it’s straight to the point.
Simon Curtis: I agree. That was Domhnall’s idea for him to be seated and looking up at Christopher who is standing. It was a really good idea. As a director I look like a genius, but it was totally the actor’s idea.
Ben Kenber: Do you give a lot of freedom to your actors?
Simon Curtis: Yeah. Plus, to be perfectly honest, there are so many little things, you can’t have them all solved in your head.
Ben Kenber: The stuffed animals we see in this movie are replicas of the original ones which are now part of a museum exhibit in New York. Did you have any issues with Disney over the rights to show these stuffed animals here?
Simon Curtis: I don’t think so in this case because they all predate Disney. They are not Disney. Winnie-the-Pooh doesn’t have his little red vest. We just wanted him to be this Victorian toy.
Ben Kenber: Were there any dramatic liberties you took with the factual material?
Simon Curtis: Well I think the fame comes much more quickly than a probably would’ve done, so it was that sort of thing.
Ben Kenber: The movie takes a real left turn when the books become incredibly popular, and the sun becomes an unwitting celebrity to where A.A. Milne begins to question the effect fame is having on Christopher.
Simon Curtis: I love that scene where he thinks he is speaking to his dad on the phone, and it is revealed to be a radio interview.
Ben Kenber: It is such a painful moment because you see in the dad’s eyes that he really shouldn’t be doing this.
Simon Curtis: That’s exactly right.
Ben Kenber: Kelly Macdonald’s character of the nanny, Olive, is wonderful as she serves as the Mary Poppins of this story.
Simon Curtis: She is certainly the emotional heart of it.
Ben Kenber: How did you come to cast Macdonald in this part?
Simon Curtis: Well she did a play with my wife about 10 years ago so I’ve always loved her work, and she just struck me as the perfect person at the perfect time.
Ben Kenber: I like how you portrayed England as still recovering from World War I.
Simon Curtis: Very much so, and I think it chimes in now because it feels like were living in wounded times now.
Ben Kenber: Was that something you planned?
Simon Curtis: It just happened in a way.
Ben Kenber: There are a number of things about A.A. Milne I didn’t know before watching this movie such as the fact he was a soldier and a playwright.
Simon Curtis: Yeah, I didn’t know he was a successful playwright.
Ben Kenber: At the beginning of the movie, A.A. Milne does not look the least bit prepared to be a parent. It’s almost like the movie “Kramer vs. Kramer.”
Simon Curtis: Yes, it is. We talked about that actually. There’s the first breakfast and then there’s the expert breakfast in “Kramer vs. Kramer.”
Ben Kenber: The arc of this movie goes from father and son being strangers to them coming together and then later becoming estranged from one another.
Simon Curtis: The thing that bonded them became the thing that tore them apart.
Ben Kenber: The segment where Chris for a sent off to school was handled very quickly. Was this a segment you ever wanted to expand on?
Simon Curtis: Not really because the last thing you want at that point in the film is to be slow.
Ben Kenber: “Goodbye Christopher Robin” has a running time of 107 minutes. I usually expect biopics like this one to go one for over two hours as filmmakers seem desperate to get every little about their subject’s life onto the silver screen. Did you ever feel this pressure when making this movie?
Simon Curtis: I don’t know really how to answer that. I was just doing the script.
Ben Kenber: This movie is dedicated to Steve Christian. Can you tell me more about him?
Simon Curtis: He was one of the producers who supported this script through years of development and who unfortunately passed away after he saw the first cut.
Ben Kenber: Well, it’s nice to know he did see a cut of the film.
Simon Curtis: Yes, it is nice.
Ben Kenber: The way I see this movie, I feel it is about the long journey to happiness. When father and son come together again, they realize to get to a point of happiness, they have to experience a lot of sadness and pain in order to better appreciate joy.
Simon Curtis: To me, the theme is pay attention to your loved ones while they are around because they won’t be around forever. And also, we punish ourselves over getting this or getting that done, and actually just being with your loved ones is the greatest gift of all. Somehow, that’s embedded in the film. I’m so glad when my kids were young because it was before these (cell)phones because I would’ve been totally on them the whole time.
Ben Kenber: In the movie’s postscript, it is revealed A.A. Milne did get to write his anti-war piece. Was this something you wanted to include in the movie as well?
Simon Curtis: Yeah. He didn’t intend to be known only as the writer of Winnie-the-Pooh. There’s a quote (by A.A. Milne) in the “Goodbye Christopher Robin” book introduction by Frank Cottrell-Boyce. Just read that.
Ben Kenber: “…little thinking
All my years of pen-and-inking
Would be almost lost among
Those four trifles for the young.”
Simon Curtis: Yeah. In fact, it’s not almost, it’s now completely. So that’s good, isn’t it?
I want to thank Simon Curtis for taking the time to talk with me. “Goodbye Christopher Robin” will arrive in movie theaters on October 13, 2017. Click here to check out my review of the film.