I know I’m not the intended audience for “Winnie the Pooh,” and by all rights, it looks like a very cute picture. But if you’re looking for a more far-out interpretation of A.A. Milne’s children’s classic, check out the Soviet-era “Vinni Pukh” cartoons (sometimes translated as Vinnie-Puh), a trilogy of Russian shorts based on Boris Zakhoder’s translation of “Winnie the Pooh.”

Not only does Pukh-Pooh look and talk like an Ewok, but the world he inhabits is beautifully sketched out in smudged colored pencil, giving you the sensation that you are actually watching animated characters walk around the illustrated landscape of a children’s book.

Episode One: “ Winnie the Pooh “

Episode Two: “ Winnie the Pooh Goes Visiting “

Episode Three (in two parts): “Winnie the Pooh and a Day of Care“

For any native Russian speakers out there: How well does the translation hold up? Do you prefer Vinni Pukh, or the American Pooh?

Sterling Holloway, who provided the classic Pooh voice in the ’60s, has been dead almost 20 years, but Jim Cummings (who also voices Tigger) has amiably filled the role in numerous lower-budget Disney productions and sounds uncannily similar. With John Cleese as narrator, Craig Ferguson as Owl and Jack Boulter as Christopher Robin, this production also has the right degree of authentic British-ness. (It’s somehow fine with me that Pooh, along with Bud Luckey’s Eeyore, sounds a bit more American.) But the real star of “Winnie the Pooh” is the imaginative animation, which features not one but two classic Disney surrealist sequences and a bit of playful postmodernism: Pooh frequently interacts with Cleese’s narrator, or wanders out of the Hundred Acre Wood into the paragraphs of the book, accidentally bringing letters and punctuation marks back with him.

Of course the Mouse has been relentlessly cashing in on A.A. Milne’s dimwit ursine hero ever since acquiring the rights from Milne’s widow in 1961, and much of that output doesn’t bear (ha!) thinking about: Piglet and Tigger got their own spinoff movies; there were Christmas and Thanksgiving and Valentine’s Day specials and a seemingly endless series of tot-oriented “Winnie the Pooh Learning” and “Winnie the Pooh Playtime” titles. Let’s not even bring up “Franken Pooh.” Well, you can forget about all that stuff; Anderson and Hall have banished the insipid primary colors, not to mention the third-rate outsourced animation, and this film has the lovingly crafted, storybook feeling that was once Disney’s specialty.

“Winnie the Pooh” feels like a turning point in the brief tenure of Walt Disney Animation Studios head John Lasseter — whose other company, Pixar, effectively destroyed Disney’s old in-house animation unit. Lasseter has said frequently that Disney Animation should have its own identity, one that draws on the company’s glorious past and doesn’t simply ape Pixar’s success, and maybe now we can see what that means. “Winnie the Pooh” doesn’t look or feel anything like a Pixar movie, and it is specifically not trying to be a “kidult” crossover success, after the fashion of almost every Pixar production. But it also feels mercifully free of the combined calculation and sloppiness that have plagued so many Disney features in recent years, and one could argue that the painstaking attention to animation and storytelling reflect Lasseter’s stewardship.

Let’s take to the way-back machine for a minute. Ever since the Walt Disney Co. began its partnership with Pixar, then an upstart digital-animation studio run out of an industrial park in Emeryville, Calif., the Mouse’s own in-house animation unit has struggled to keep up. Actually, that’s being euphemistic; what really happened was that Pixar kicked Walt Disney Feature Animation’s butt so badly that the division was ultimately dissolved and renamed. In 1995, “Toy Story,” the first Disney-Pixar release, grossed $354 million worldwide, which represented at least a tenfold return on its production costs. Walt Disney Feature Animation also had a big hit that year with “Pocahontas,” which premiered outdoors in New York’s Central Park and went on to its own $300 million-plus worldwide take. (Mind you, it also cost several times more to make than “Toy Story” did.)

Not even Lasseter, who co-founded Pixar and directed “Toy Story,” would have predicted 16 years ago that Pixar would go from one massive success to the next, becoming one of the most beloved brands in entertainment history, or that “Pocahontas” was the last big hurrah, or next-to-last, for Walt Disney Feature Animation, which had created such massive hits as “The Little Mermaid,” “Beauty and the Beast” and “The Lion King.” When Pixar released “Toy Story 2″ in 1999, another huge worldwide hit, WDFA’s big release was “Tarzan,” a wildly expensive production (not to mention an entirely forgettable film) that probably ended up in the red. Disney’s in-house studio had one more sizable hit, with “Lilo & Stitch” in 2002. But that movie earned $100 million less than Pixar’s “Monsters Inc.” had a year earlier and took in less than one-third the worldwide gross of Pixar’s huge 2003 hit, “Finding Nemo.”

At that point the writing was on the wall: Pixar engaged an enormous public with cutting-edge animation technology and appealing characters and stories, and reaped untold billions in box-office receipts, tie-in merchandise and ancillaries. Disney’s in-house animation studio, on the other hand, was an embarrassing albatross. There were straight-to-video quickies, cashing in on existing properties in the most unfortunate Disney tradition: “Mickey’s Twice Upon a Christmas” and “Mulan II” and “Tarzan II” (with “new songs by Phil Collins,” apparently meant as an inducement). The last release under the aegis of Walt Disney Feature Animation was “Chicken Little” in 2005, a work of supremely crappy-looking fake-Pixar animation that features 11 credited writers and Zach Braff in the title role. I would have been happy to completely forget that movie’s existence. (In fact I had, until now).

Lasseter has been at the helm of the reconstituted Walt Disney Animation Studios for almost five years, while continuing to run Pixar, and the results of this seemingly contradictory role are still a bit unclear. The first two Disney features made on his watch, “Meet the Robinsons” and “Bolt,” felt way too much like Pixar movies, with substandard animation and the rough edges sanded off. I’m aware there’s a critical constituency for both films, but that didn’t extend far into the public, and both were box-office flops. With the hand-drawn “Princess and the Frog” and the digital “Tangled,” Disney tried to breathe new life into its classic tradition of adapting fairy tales. Neither performed as well as expected, but they displayed more craft, integrity and audience appeal than any other Disney animated feature in years. (“Tangled” was reportedly so expensive to make that even its worldwide gross of almost $400 million might not have returned a profit; “The Princess and the Frog” failed to click with American audiences but did well overseas.)

It’s almost not worth mentioning that “The Princess and the Frog” was artistically and financially eclipsed by Pixar’s “Up,” and that “Tangled” was obliterated by the astonishing billion-dollar worldwide gross of “Toy Story 3,” the biggest animated feature in history. The same thing is likely happen again this summer; even though many Pixar-friendly critics have turned against Lasseter’s “Cars 2,” audiences don’t seem to mind. But coming as it does after those two films, “Winnie the Pooh” feels like more than a small summer surprise that will utterly charm 3-year-olds and 93-year-olds. It feels like a Walt Disney animated film, in the best possible sense of that term, and another significant step toward restoring that company’s dignity and sense of purpose.

If you’re still feeling overwhelmed, we’ve prepared a brief guide of the day’s must-sees, as well as what programs to avoid.

Definitely catch: “Game of Thrones” panel

Author George R.R. Martin moderates a panel featuring series executive producers David Benioff and D.B. Weiss as well as cast members Emilia Clarke, Nikolaj Coster-Waldau, Peter Dinklage, Kit Harington and Jason Momoa.

I know this is going to be the hot ticket event of the first day, but I’m not sure if it’s because the show is so popular, or if fans are just going with a bag of rocks to pelt at George R.R. Martin’s head. Either way, it’s not to be missed. Bring your Flip cam.

Definitely avoid: “Battlestar”: So Say We All

Richard Hatch hosts a panel and fan discussion of the “Battlestar Galactica” universe, politics and philosophy with Hatch (Tom Zarek, Capt. Apollo), Michael Taylor (“Battlestar Galactica,” “Caprica,” “Blood and Chrome”), Dr. Kevin Grazier (BG science consultant), and surprise guests for this exciting roundtable and Q&A session.

Guys: “Battlestar” is over. Time to move on. Now, someone show me the way to that Damon Lindelof/”Lost” theory panel.

Definitely catch: “Oh, You Sexy Geek!”

Does displaying the sexiness of fangirls benefit or demean them? When geek girls show off, are they liberating themselves or pandering to men? Do some “fake fangirls” blend sex appeal with nerdiness just to appeal to the growing geek/nerd market, or is that question itself unfair? And what’s up with all the slave Leias? Action flick chick Katrina Hill (ActionFlickChick.com) asks Bonnie Burton (Grrl.com), Adrianne Curry (“America’s Next Top Model”), Clare Grant (Team Unicorn, “G33k & G4m3r Girls”), Kiala Kazebee (Nerdist.com), Clare Kramer (“Buffy the Vampire Slayer”), Nerdy Bird Jill Pantozzi (“Has Boobs, Reads Comics”), Jennifer K. Stuller (Ink-Stained Amazons, GeekGirlCon) and Chris Gore (G4TV’s Attack of the Show!) to discuss whether fans can be sexy and geeky at the same time — and if they should!

I’d say that you could just watch the mashup of hot chicks on late-night shows and save yourself the effort, but since these are actual nerd girls discussing gender issues and not just Mila Kunis talking about World of Warcraft, it’s worth making time for.

Avoid:  TV Guide Magazine: Fan Favorites

TV Guide is back with an all-star panel for the fans! Moderated by editor in chief Debra Birnbaum, Fan Favorites features your favorite talent from your favorite shows — in front of the camera and behind the scenes. Panelists include Nestor Carbonell (“Ringer”), Johnny Galecki (“The Big Bang Theory”), Jorge Garcia (“Alcatraz”), Leslie Hope (“The River”), Zachary Levi (“Chuck”), Joe Manganiello (“True Blood”), Julie Plec (“Vampire Diaries”), Matt Smith (“Doctor Who”), Kevin Williamson (“Vampire Diaries”), Deborah Ann Woll (“True Blood”), and others.

What a clusterfuck … do the same people who want to see Jorge Garcia or Matt Smith really care about what “Chuck” or the guy from “The Big Bang Theory” have to say? I imagine this panel will be the real-life approximation of channel-surfing when you’re bored.

Definitely catch: Entertainment Weekly: The Visionaries: A discussion with Jon Favreau and Guillermo del Toro on the Future of Pop Culture

EW moderates an in-depth conversation with Jon Favreau (“Cowboys & Aliens”) and Guillermo del Toro (“Don’t Be Afraid of the Dark”), two filmmakers at the forefront of bringing geek culture to the masses and making blockbuster art out of pulp fiction. They will discuss their inspirations, their current work, and how they strive to put a personal stamp on blockbuster entertainment. Plus: How is new technology changing the way stories are produced and viewed? And what do they think the pop culture universe will look like a decade from now? Moderated by Jeff “Doc” Jensen.

Comic-Con is one of the first places that “cool” directors will leak spoilers and info about their upcoming features, so get a front seat and turn on your tape recorder in case Guillermo del Toro lets something slip about “Pacific Rim.”

Bonus “Don’t Miss” screenings: Mike Judge hosting the new “Beavis & Butt-Head” episodes, “Archer” viewing and cast discussion, and the exclusive premiere of “Burn Notice: The Fall of Sam Axe.” Just kidding.

This list is far from definitive. What events are you most looking forward to for Comic-Con?

2. Celebrity tweets as public announcements

Kourtney Kardashian’s musing, “Do ants have dicks?” makes that much less sense when some guy is going around yelling it on the street.

3. Two movies, one plot

I love Justin Timberlake, but I’m not sure if I’m ready to see “No Strings Attached 2: Electric Boogaloo” so soon after the original.

4. Neil Gaiman, “Mythbusters” and Gollum

I am so happy that this exists: “American Gods” author Neil Gaiman convinces Adam Savage from “Mythbusters” to do his best “Lord of the Rings” character impression. Why? Who cares. It’s awesome.

5. “Porta Potty Peeper” gets the Taiwanese animation treatment

Thanks to Next Media Animation for alerting me to this story. This guy is so bad at peeping! There must be other ways to snoop on girls that don’t involve waiting around for hours inside a toilet, covered in feces.

I spoke to Ben over the phone about the jet-setting lifestyle of one of TV’s most famous voices — and why he won’t record your outgoing voicemail.

So, the obvious question: Why a live show now?

Drew, there are tons of live shows on television … Oh why a live show about me?

Yes.

Because you do know that most of the television you watch is live-action.

The major networks, generally. But for you, personally, you’ve done so much voice work.

Well I’ve been a massive failure for years and years, so it’s hard to get a live show on the air, apparently. I’ve tried, a bunch of times. But no, they … um, didn’t like me. But it wasn’t for lack of trying. I wasn’t suddenly like “Time to pitch a show!”

I remember an old SuicideGirl interview you did a long time ago, where they said you turned down more roles than any other actor.

(Laughs) Where did they get a statistic like that?

It sounds like an IMDB trivia fact.

Oh, those IMDB facts don’t mean anything, they aren’t real. Do they take the mean average?

I’m guessing so. Like one year you might turn down less roles than Daniel Day-Lewis, but it evens out.

It is absolutely between me and Daniel Day-Lewis for the record, and he’s up by three right now because he just turned down “Two and a Half Men.”

As did you.

Well, I turned down the Jon Cryer part. They were going to replace both of them and have me and Daniel.

Who was going to play the kid?

Seth Green. We should just do a live show of that. So no: I’ve heard that quote before, about turning down the roles, and I think it’s just silly.

You have taken small roles in movies. You were a doctor in “Not Another Teen Movie” for three seconds, and Miranda’s co-worker who thought she was a lesbian on “Sex And the City.” But it’s your voice that’s well, really made you famous. I had a boyfriend in college who actually wanted to grow up to be Ben Katz from Dr. Katz.

It’s such an easy goal to succeed.

Was that your first role?

It was my first job, I think.

And then “Home Movies,” spots of “Venture Brothers” and “Aqua Teen,” and now “Archer” and “Bob’s Burgers.” After decades of doing voice work, it does seem like you prefer to work in that medium.

It’s true. There are times I’ve turned down sitcoms and other opportunities. I don’t know whether that was a bad or good idea, ultimately. But there were far more times where I’ve been rejected. So it’s not like I say “no” to work so much … actually I’ve never said “no” because I just have a guy that says “no” for me.

Well there is this sense that now with “Archer” and “Jon Benjamin has a Van,” you’ve become more recognizable, maybe more mainstream even? Do you think those cult Jon Benjamin fans are going to see this as you getting too recognizable? Selling out?

Ha. Yeah. “I remember when he was cool.”

Or, “He was better as that talking can from ‘Wet Hot American Summer.’”

Funny thing. I never saw that scene in the movie when it came out. But I mean, I know I’m in it. Back to the point: I’m not concerned about “selling out” because I have to make a living, but I am slightly concerned with people watching ["Jon Benjamin has a Van"] and not enjoying the cartoons as much.

Really? Like people will have a harder time associating you with “Archer” after this?

Yeah, but that might just be a weird. That might not be true. Everyone knows who Homer Simpson is.

Do they?

Oh yeah, you should see the two of us walking around together.

That sounds like the best day in Hollywood ever. I remember back when you were making web videos for (Huffington Post’s now defunct comedy website) 23/6, you were doing segments that weren’t just live-action, but were in the same satiric news format as your new show.  Were these ideas you’ve had kicking around?

It’s probably more the comedy I gravitate towards. Boring. Dry. Occasionally funny. So yeah, it’s a good medium for me. After 23/6 I did a pilot for Vice where I had like a cable access show where we did a bunch of fake interviews that were supposed to take place in the 80s. So I had been doing stuff in that vein. “Midnight Pajama Jam” was a live show I did where the main thrust of it was a talk show, a segment with a guest. It was our way of getting comedy out there.

A lot of articles talk about the dual-format of “Jon Benjamin”: Half of it is on the street interviews with real people, and the other half are these scripted fake segments that are also interviews. I’m trying to imagine your pitch meeting for the show.

I showed them “Midnight Pajama Jam,” actually. Some street pieces I did where I’d go out and talk to people in the city, or one where my friend was a sock puppet and we talked to people. And some of it ended up on the show, like the “Do You Have a Minute” segment.

My favorite thing from “Midnight Pajama Jam” was the Hello Squad. Can you tell this is becoming less an interview and more me telling you what stuff you’ve done?

I actually feel like I’m on a job interview for your company. “So ‘Midnight Pajama Jam’…help us remember…what was that?”

So Jon: What are your biggest strengths and weaknesses you think you can bring to this company? And then we’ll go over employee stock options.

Strength OR weakness? My greatest strength is my greatest weakness. I have a, um, very resonant, deep voice. So that is a strength. Bu what is my biggest strength that is also my greatest weakness … I like have incredible sexual prowess.

Good to know, because…

No, I mean, it won’t stop. I want it to stop, but it won’t. It’s too crazy. I mean I don’t stop. Ever.

Well now the voice acting is making a little more sense. Do they have to shoot you from the waist up on the show?

Yeah, you know like priapism? I’m like that, but without the medication.

I’m like a mythological creature.

Like when you took the form of a stallion as Master in “Venture Brothers?”

Good job bringing it back to my credits.

I’m about to do it again: So you’re doing “Bob’s Burger’s” on Fox, “Archer” is getting a third season, and you’re now starring in your own Comedy Central show. That schedule must be interesting.

Well I have plenty of time on my hands, ironically. I’m done shooting “Van,” and voice work … it’s not like you have to go to an office every day and do “Bob’s Burger’s.”

You get off easier than the writers.

Well, “Archer” is written by one guy, which is pretty crazy. Sometimes when we record, he’s not there because he’s holed up writing the next episode.

That show is a revelation.

Without a doubt, I love “Archer.” I like me in it, obviously, I am very good. But the whole thing, it’s very awkward, but I’ll literally watch the show and forget I’m in it. And not like “I’m so good, I’m losing myself watching my own character.” The show is just that good.

With your distinct voice, how many people ask you to record their outgoing voice messages?

Oh yeah, I summarily refuse to do those. I used to do that all the time. But then I had a breakthrough where I was like “Fuck off.”

Oh?

I will say that to anyone. “Fuck off.” I will leave you a message that says “I don’t want to be doing this right now.” I mean, I won’t actually say that … it’s just always so awkward, and the guy always has to set it up on his phone while I just stand there. “Oh, Jenny is going to love this, hold on man, let me just find her number.” Come on already, can I go?

No, you can’t.

No … I was saying that in character.

I know, and I was responding in the character of the guy who wants you on his outgoing voicemail. It must be odd to have a fan base of people just obsessed with your voice.

It is. Some people just want me to talk to them. And the people I know don’t want me to talk to them at all.

You should start a service, “Jon Benjamin will talk to you.” And you can charge money.

I would make at least $500 a year.

(Click below to hear Jon’s special message to Salon’s readers — ie. the outgoing message he recorded on my voicemail)

Jon Benjamin by saradrewgrant

“Jon Benjamin Has a Van” is on every Wednesday at 10:30/9:30c on Comedy Central