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- 6/24/2025
The full VHS Tape on the making of Walt Disney’s The Many Adventures of Winnie the Pooh. This is the original version from March 1996 and it has a scene that was later removed from later relases about The Children’s Museaum of Manhattan in New York where several people and adults are looking at all the stuff of the they have. So i hope you’ll like the original full verion of this.
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01:30...who shares their innocence and endless curiosity.
01:33For adults, Pooh represents the most admirable traits of childhood, a perception of a world filled with simplicity and beauty, and the loyalty of a steadfast friendship.
01:44It's really all fair.
01:46When Walt Disney began plans for an animated version of Winnie the Pooh in 1961, he realized that children in Britain and Europe were more familiar with these stories than children in America.
01:58If that was the case then, it is far from true today.
02:02Here in New York, at the Children's Museum of Manhattan, a retrospective exhibit in 1995 is an indication of the overwhelming popularity of this chubby little stuffed bear.
02:15Thousands of children and adults have come here to experience or remember the charms of these beloved characters.
02:23Children play in a huge playroom designed as the hundred-acre wood and read or hear the stories that were favorites of their parents and grandparents.
02:31Winnie the Pooh toys, Winnie the Pooh toys, games, and the cuddly stuffed animals are many a child's best friend.
02:37This is only appropriate, since that is how Winnie the Pooh came to be.
02:43This stuffed bear was a gift to A.A. Milne's son, Christopher Robin, on his first birthday.
02:48Edwin Bear was renamed Winnie the Pooh based on a Canadian black bear at the London Zoo named Winnipeg and a swan named Pooh.
02:57Mr. Milne was a successful author and playwright, and the friendship between Christopher Robin and Pooh was the inspiration for a set of verses for children.
03:07These stories also featured other characters from Christopher Robin's nursery, including the timid piglet, the ever-bloomy donkey named Eeyore, and the constantly bouncing tiger called Tigger.
03:20A frequent visitor to the Milne family's Sussex estate was English artist Ernest H. Shepard.
03:27His affectionate sketches of Christopher Robin with his menagerie of stuffed toys were the perfect complement for the Pooh stories.
03:34In 1924, A.A. Milne's first verses were combined as a book, titled, When We Were Very Young.
03:43It was an immediate success in Britain, and would be the first of four Winnie the Pooh books that would be published over the next four years.
03:51The adventures in these books started out as bedtime stories told to Christopher Robin, but soon they were being read to boys and girls everywhere.
04:00A continent away, Walt Disney was one of those parents who fondly recall sharing these stories with their children.
04:08Back when Walt Disney's daughters were small, Mrs. Disney used to read stories to the daughters in the evening.
04:16She'd read them the Mary Poppins stories. She'd read them the Winnie the Pooh stories.
04:20Walt Disney used to hear the laughter coming out of his children's bedroom, and he knew they were really enjoying these stories, and so he remembered that.
04:29Walt called us one day, and he says, I have an idea about Winnie the Pooh. We ought to do that. Do you guys know Winnie the Pooh?
04:37And I says, well, I remember hearing about this book, this story, when I was stationed in England during the war.
04:46And Walt says, yeah, yeah, oh yeah, these are good stories. We make a little feature out of these.
04:53Walt acquired the rights to the Winnie the Pooh books in 1961, and started plans for a musical, animated, feature-length film
05:01to be produced and directed by Disney veteran Wolfgang Reitherman.
05:06Willie Reitherman was really the key factor behind these pictures.
05:12He, in a large way, was responsible for the art direction on it, too, starting with the book stuff,
05:20like having Christopher Robin swinging on the page with all the printing.
05:24So you're always aware that this is a book that the kids can read, and something that they can get involved in.
05:32He had Walt's spirit in him, and Willie never gave up trying to make things better.
05:38The talented songwriting team of Richard M. and Robert B. Sherman are renowned for their songs for Mary Poppins in 1964
05:46and The Jungle Book in 1967.
05:49Walt personally enlisted them to work their magic for Winnie the Pooh.
05:52Dick and Bob were like a song and dance team.
05:56Dick would get on the piano and play a little melody, you know, and Bob would come up with a lyric to it.
06:03Dick was a real showman, and I think Walt really loved it.
06:07He never, ever wanted us to, in any of his projects, just write a song to be sung.
06:12He wanted a song to move the story forward.
06:17I'm just a little black rain cloud.
06:20Walt wanted the songs for Winnie the Pooh to be eminently singable and very simple,
06:26and yet try to be original and whimsical.
06:28The breakthrough came when our very first song, we knew we were going to write a title song,
06:33and so we decided to set the scene and make it very gentle and sweet,
06:36and it was kind of like a love song to this whole idea of being young and believing in little teddy bears and little piglets.
06:42And it went something like this.
06:44Winnie the Pooh, Winnie the Pooh,
06:48Cubby, little cubby, all scuffed with fluff.
06:52He's Winnie the Pooh, Winnie the Pooh,
06:56Winnie the Pooh,
06:56Winnie the Pooh,
06:57Winnie the Pooh,
06:58Winnie the Pooh,
06:59Winnie the Pooh of course was basically a honey lover.
07:02He loved to eat honey and guzzle lots and lots of good sweet things,
07:06and so he would exercise for different reasons.
07:09He would try to build up his appetite.
07:13Yeah, he did it just for the opposite reason than we would do it.
07:16He wanted to put on weight, not lose weight.
07:19Thusly,
07:20Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up, Down, Up
07:50For many thousands of people, the characters from the Winnie the Pooh stories were defined by Ernest Shepard's charming book illustrations.
07:59Walt realized the value of staying consistent with his audience's childhood memories of these tales
08:04and insisted that his artists adhere as much as possible to the original designs of the characters.
08:11Actually, there was a little bit of a conflict of whether we should use Shepard's illustrations or come up with our own.
08:19Walt decided, no, we'd come up with our own design of Winnie the Pooh.
08:25Not getting away completely from Shepard's illustrations, which are beautiful things, but we had to make them Disney.
08:33Well, we all loved the Shepard drawings when we started on the picture and still do.
08:38But you can't take something like that that is drawn only in certain views.
08:45We have to be able to draw the character in every position, every view.
08:49So we had to design our own characters.
08:52We decided to keep the eyes flexible so that the character could close and open the eyes.
09:00They could raise their eyelids.
09:01They could move their mouth around and their cheeks a little bit so they'd get the feeling of an expression.
09:08But they couldn't look like this or around or up that way like Mickey could.
09:13We had to do it by turning the head.
09:16And actually, it was better because it made them look more doll-like.
09:21Walt was concerned that they would have more charm than substance.
09:25And he wanted to be sure that we captured the story, that we captured a strength in the characters so that they would exist on their own.
09:37They didn't rely on you having read the story.
09:40Once the designs of the characters were approved, model sheets were created so each animator had a reference for how the characters were to be drawn.
09:49And he's got a fairly big body here.
09:53And this is his little red outfit here, little red dress.
09:58The material itself is very delicate, very fragile in a sense.
10:04You don't want to make big, guffaw laughs with the material.
10:08It had to be done very gently and whimsically.
10:12Winnie the Pooh is very straight.
10:22He's like a little child.
10:23He's just totally honest and says it just the way it happens, the way children do.
10:28They don't have any hidden meanings.
10:30Is anybody at home?
10:32No.
10:34Bother.
10:35Isn't there anybody here at all?
10:38Nobody.
10:38Somebody there, because somebody must have said nobody.
10:44What?
10:47Happy Wednesday, Piglet.
10:49Piglet's so simple, funny.
10:52He's so little.
10:54And he's always trying to be such a nice guy and trying to get along, trying not to show that he's scared when he's up in the air like a kite, you know.
11:04But he does get panicky, but it's always still kind of a restrained thing.
11:11Whoops!
11:12Oh, no.
11:13Stop.
11:15Hello, Rabbit.
11:17Rabbit, he was always frustrated, you know, and he was just a worrywart about everything.
11:22Honey?
11:23Oh, no.
11:23I'm Tigger.
11:27T-I-double-g-r.
11:28That spells Tigger.
11:30Tigger, of course, was always kind of fun because he was no cares in the world.
11:35He just went out there and he just did whatever he wanted to do.
11:37And, of course, he always got into trouble.
11:38And that was fun.
11:41Some bouncing, huh?
11:42What did you say?
11:47How did this tree get so high?
11:50Hello, Mrs. Kanga, ma'am.
11:52Some of the traits I tried to bring to Kanga and Rue, which was the mother-son relationship,
11:58and trying to think of Rue as a five-year-old boy.
12:01Is your sweater warm enough?
12:03Yes, mother.
12:04We wanted to have, and Walt wanted to have, one kind of an American character that would
12:09also bring in the youngsters in America.
12:13And a gopher is a very American animal.
12:17Somebody call for an excavation expert?
12:20I'm not in the book, but I'm at your service.
12:22A gopher.
12:23The name is McCard.
12:25There was an effort to put some comedy in, and that was the gopher.
12:29First thing to be done is get rid of that bear.
12:32He's gumming up the whole project.
12:33It was very much like the badger in Lady and the Tramp.
12:36In fact, it was a real takeoff of it.
12:38We were pleased with him, except that we were very nervous about it, because, after all,
12:43there are poo-ophiles.
12:45There are people that really adore Winnie the Pooh, particularly in England, and we didn't
12:49want to offend anyone.
12:51So Larry Clemens came up with this idea.
12:53He said, how about if he pops up out of a gopher hole, and he says, I'm not in the book,
12:57but I'm at your service.
12:58Gopher's the name.
12:58I mean, it was just one of those wonderful, spontaneous things.
13:02And everybody said, absolutely right.
13:04I'm not in the book.
13:05Double meaning.
13:05Not in the phone book, but he's not in the A.A.
13:07Milne book either.
13:09Dash it all.
13:10He's gone.
13:11After all, he's not in the book, you know.
13:14To complement these characters, the overall art design for the film attempted to also keep
13:22the feel of Shepard's line-drawn backgrounds as well.
13:26Most of these chalk and watercolor concept pieces have never before been seen by the public.
13:31We started using backgrounds on 101 Dalmatians that had painted in flatter areas, but had
13:45lines, ink lines, outlining the shapes.
13:50I think it was used to advantage on Pooh by just having the outline of the shapes in the
13:57background.
13:57The story to be animated is broken down shot by shot in drawings called storyboards.
14:04These allow the staff to study the flow of the story and to see where problems might exist.
14:10We had about two-thirds of what we considered a feature in storyboards.
14:16We were in development.
14:17Some parts of it were actually in animation, some of the early areas.
14:21But we were just really thinking in terms of a total animated feature.
14:29And one day we had this major meeting with all the people involved in the Winnie the Pooh project.
14:33And Walt said, yeah, what we're going to do is we're going to platform this property.
14:39We're not just going to put out a feature.
14:40Because the American public, particularly the children in America, are not familiar with
14:45Winnie the Pooh at all.
14:46So actually what he did was he sectioned it into three sections.
14:49And so we were all kind of like surprised and perturbed about it.
14:53We said, well, you know, featurette, why?
14:55And he says, you'll see.
14:57Once we have people aware of the Winnie the Pooh characters, the next time around it'll be
15:01much, much bigger.
15:03And it'll become classic.
15:04It'll become a masterpiece.
15:06You watch and see.
15:07Once the story and characters are approved and before the animation can begin, the dialogue
15:14is recorded.
15:17Casting the voices for this stuffed menagerie brought out many of Hollywood's most interesting
15:22voices.
15:23Walt always wanted this believable business.
15:27He wanted to transport the audience to some make-believe place that they could never go themselves.
15:33And that's what the right voice does for you.
15:36Oh, bother.
15:38Actor Sterling Holloway, who had provided the voice for the Cheshire Cat in Alice in Wonderland,
15:44was cast as Winnie the Pooh.
15:46To be in the same recording studio with Sterling Holloway was a great treat.
15:50I mean, the man was a consummate artist.
15:52I used to watch the way he performed.
15:54He used to underplay his lines.
15:57He would do them so softly and so easily.
15:59Hello.
16:01Am I glad to see you?
16:04It's more friendly with two.
16:06Sterling Holloway was just, well, I was going to say he was a teddy bear.
16:10He was.
16:11He was, uh, he was like Pooh.
16:13He was the human version of Pooh.
16:15And Paul Winchell is just a genius.
16:17Incredible talent, whimsy, timing, all the things that require a personality to bounce out of the screen,
16:26Paul Winchell has it.
16:27When he gave a voice to Tigger, he really did something special.
16:31Hey, this is a cinch.
16:34You come in and you look at all the characters on the wall.
16:38You try to see whether you can match some kind of a voice quality to the pictures that you see.
16:44I was instructed that Tigger was a very exuberant kind of a character.
16:48And that at the same time, he was a very humorous kind of a character.
16:53So I tried to put together exuberance, which was a guy who was very excited, you know, all the time.
16:58And, uh, uh, just, uh, with his laugh and everything.
17:02The thing that I enjoyed most about the character, I really can't put it into words, but I like Tigger.
17:10Uh, there's a certain quality that I feel that I became identified with in my own mind,
17:17so that instead of just reading the lines, I would always ad-lib.
17:21I would always throw in something, like I threw in one day that, well, TTFN, ta-ta for now.
17:27TTFN, ta-ta for now.
17:30Howard Morris, who was a regular on TV's Your Show of Shows and played Ernest T. Bass on The Andy Griffith Show,
17:38provided the voice for Gopher.
17:40The Gopher was a character.
17:41We decided to give him a funny characteristic, and then he whistles through his teeth.
17:45It certainly is.
17:47I'm working the swing shift, you know.
17:49Ralph Wright, uh, was one of the story guys, and he had a real keen-deep voice.
17:55And we wanted Ralph to do the, do the voice for, uh, the donkey.
18:01And so we recorded it, so he is the voice of Eeyore.
18:05Thanks.
18:06It's not much of a tale, but I'm sort of attached to it.
18:10John Walmsley, who starred as Jason on The Waltons, was one of three actors who provided the voice for Christopher Robin.
18:18I was 12, actually 11, when I did, uh, Christopher Robin.
18:22And, uh, the character was basically me.
18:25Christopher Robin is a little English boy, and I was a little English boy.
18:29So I was basically playing myself at the time.
18:31Hello, Christopher Robin.
18:33Oh, thank goodness you're safe.
18:36Sebastian Cabot, who was familiar to American TV audiences as Mr. French on A Family Affair, was cast as the narrator.
18:44Now, honey rhymes with bunny, and bunny rhymes with, uh, rabbit.
18:51Other voices included character actor John Fiedler as Piglet.
18:55Oh, for a bear of very little brain, you sure are a smart one.
18:59And multi-talented Hal Smith, who played Otis on The Andy Griffith Show, provided the voice for Owl.
19:06Someone has pasted Piglet on my window.
19:09Oh, well, who to?
19:12After the dialogue was recorded, the animators could begin the task of bringing the characters to life.
19:18Once the pencil animation was approved, the drawings were traced onto clear celluloids and painted.
19:24These were photographed against the hand-painted backgrounds, one frame at a time, to create the final footage.
19:31Here is a reconstruction of Tigger's song, tracing the evolution from storyboard through pencil animation to the final color footage.
19:40Oh, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho, ho
20:10Buddy Baker wrote, arranged, and conducted the musical score to complement the songs
20:17written by the Sherman brothers.
20:21As with Sergei Prokofiev's Peter and the Wolf, Baker designed it so that different musical
20:26instruments represent each of the major characters.
20:40On February 4th, 1966, Winnie the Pooh and the Honey Tree was released theatrically.
21:05Shortly afterwards, Walt started production on the second featurette, Winnie the Pooh
21:10and the Blustery Day, but he did not live to see the fulfillment of his prophecy about
21:15the popularity of the Pooh characters.
21:18Three years later, we put out the second Winnie the Pooh, which was Winnie the Pooh and the
21:21Blustery Day.
21:22And it won the Academy Award.
21:23Not only did it win the Academy Award, it was a very, very, very successful featurette.
21:28And Winnie the Pooh became like an established Disney character.
21:30I mean, he was as fully accepted around the world as any of the previous characters had
21:36been.
21:37Now, that was, in a sense, a tribute to Walt Disney, too, because it came out after Walt's
21:42death, of course.
21:43And yet, it was something he had personally been very much involved with.
21:49So, although he wasn't there to supervise it, Winnie the Pooh and the Blustery Day was
21:53Walt's last great achievement.
21:55And now people refer to it as another Walt Disney masterpiece.
22:00In keeping with Walt's original intention, the first three shorts were combined into
22:05a full-length feature in 1977.
22:07Everybody involved in this property knew the end of the feature was going to be Pooh and
22:15Christopher Robbins saying goodbye.
22:17We never, ever put it into any of the featurettes because it was too concluding.
22:21It was too ending.
22:22A few years later, they were going to do a longer version of Pooh and then they were going
22:27to animate and complete the last sequence.
22:31It's very touching and very sentimental.
22:33It's a little boy saying goodbye to his childhood, his basic childhood.
22:36But this was my first exposure to that story and I didn't know what was coming.
22:41Got to that and I'm reading this dialogue and just completely lost it and that's what
22:46you hear in the show.
22:50And when I saw this as an adult, I thought, man, that's like the best scene I've ever done
22:55because it was totally real.
22:57You know something Pooh?
22:59I'm not going to do just nothing anymore.
23:02You mean never again?
23:04Well, not so much.
23:07Pooh, when I'm away just doing nothing, will you come up here sometimes?
23:14You mean alone?
23:16Just me?
23:17Yes.
23:18And Pooh, promise you won't forget me?
23:22Ever?
23:23Oh, I won't, Christopher.
23:24I promise.
23:25Not even when I'm a hundred?
23:27How old shall I be then?
23:30Ninety-nine.
23:32Silly old bear.
23:35Disney has to be credited for bringing the popularity of Milne's story of Winnie the Pooh to the American
23:44public.
23:45There's certainly an honesty and an innocence to these Pooh characters.
23:51They aren't putting anything over on anybody.
23:54They don't try to put anything over on each other.
23:57They're very honest with each other.
23:59I think they believe in each other and care for each other.
24:02And I think that the kids could get a wonderful lesson from that.
24:06So can grown-ups.
24:09Pooh is the essence of childhood adventure, childhood imagination, childhood fantasies.
24:18It's the perfectly safe world.
24:21Everybody's nice.
24:22They're all characters.
24:23They're all peculiar.
24:25Rabbit's very fastidious and fussy.
24:27And Owl is a windbag.
24:28He talks all the time.
24:29But they're all lovable.
24:30They're all wonderful.
24:31And Pooh, of course, is a bear of very little brain, but he's all love.
24:36And it's safety.
24:37And it's purity.
24:39And it's something I wish we all had more of in this world.
24:43We never will forget our hero of the wet.
24:47Our quick-thinking, unsinking Pooh Bear.
24:51And Piglet, who, indeed, a doubt, a friend in need.
24:55But truly, they're the heroes of the day.
24:58So we say hip, hip, hooray for the Piglet and the Pooh.
25:03Piglet and Pooh.
25:05What's all that stomping and singing and silly shenanigans?
25:08Hip, hip, hooray. Hip, hip, hooray. Hip, hip, hooray for Winnie the Pooh.
25:21And Piglet, too.
25:38Juglet очерcs from the Pooh.
25:40He's wondering if it feels friendly to another one of those who have been.
25:43Okay.
25:44And we're stilldot at the timetly nostrium team.
25:49Southwestern huge, hip and chicklet.
25:51And the design of the
25:54Offensory Tangier!
26:00But in the forefront,
26:02you can't forget the evening glory of the Holy Spirit also
26:04THE catastrophic defeat of
26:05The 181 Dawn Chi-Pher she flies.
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