‘Princess’ Silverman relishes Disney role
‘Princess’ Silverman talks equality and progress
Sarah Silverman has just ended an eloquent and passionate speech about the philosophical divide in Trump-era America when she suddenly lifts her can of Red Bull and excitedly exclaims: “Whoa, this stuff actually works!”
It’s not the first or last time the actress and comedian catches herself drifting into deep-thought territory during her promotional duties on behalf of Disney ’s Ralph Breaks the Internet, the sequel to 2012’s animated blockbuster Wreck-It Ralph. At an earlier news conference, an enterprising reporter asked the cast and directors to reveal their deepest insecurities, which does actually align with one of the bigger themes in the movie. The answers got so deep and dark that star John C. Reilly eventually said, “We are talking about a cartoon movie, right?”
At the time of this interview, U.S. midterm elections were looming in her country. So politics were likely front of mind for the outspoken Silverman. Whatever the case, she has clearly given much thought to the resonating themes that course under Ralph Breaks the Internet, which finds our favourite good-natured video-game villain (voiced by Reilly) entering a brave new world to help out his bestie, Sugar Rush racer Vanellope von Schweetz (voiced by Silverman).
As fans of the original know, the ostracized and clumsy Ralph found new purpose in life when he was able to win the friendship of Vanellope. As the sequel begins, he is content with his life among the other vintage video game characters who socialize after hours in the power strip of Litwak’s Family Fun Center and Arcade. When Vanellope’s racing game is broken and she is at risk of becoming homeless, the two venture into the scary and exhilarating world of the internet through a newly installed wireless connection in hopes of securing a vintage steering wheel that can only be found on eBay.
“It’s a story of feelings and how we deal with them and the unhealthy, and hopefully ultimately healthy ways, we deal with our own demons and process them and forgive ourselves for having feelings,” Silverman says. “In fact, that’s all we are is feelings. We can be riddled with insecurity and still be deserving of love. We can fear change and be brave enough to exist through it anyway. There’s nothing more human and more right now in this moment than the duality of craving change, disruption, chaos and being terrified of change and paralyzed by the notion of it. We’ve got half of the country pushing for progress and half of it desperately afraid of change.”
Fear not — while Ralph Breaks the Internet does touch on the chaos of the internet, insecurity, female representation in film and online bullying, it’s still a Disney movie. It’s funny, fast-paced and visually stunning and also offers a wildly imaginative and savvy take on how the internet works, presenting it as a multi-layered city of wonderment full of colourful creatures, gatekeepers and robotic-like avatars of users.
But the heart of the film is the friendship between Ralph and little Vanellope. Since finding his first true friend, Ralph is convinced he has the perfect life playing a videogame villain by day and hanging with Vanellope after hours, sucking back root beers and engaging in belching contests inside the Tapper video game. Vanellope, on the other hand, seeks a more adventurous life than the one offered by her racing video game, Sugar Rush.
When the pair discovers the brave new world of the internet, Vanellope becomes enthralled with its possibilities, particularly those found in a violent, unpredictable game called Slaughter Race.
The film offers a non-stop parade of new and old characters, including cameos from the everexpanding Disney/Marvel/Star Wars universe. At one point Vanellope comes across a gang of past Disney princesses, most of whom are voiced by the actresses who played them in the original films. She eventually convinces them to abandon their traditional princess wardrobes in favour of her more comfortable jeans-and-hoodie combo. Hidden inside this visual joke is a poignant message for girls.
“It’s to question what we think is normal and say, ‘Wait, what if you don’t wear a corset and high heels and clothes you are cold in or uncomfortable in? Do you still deserve love?’ Yes,” Silverman says. “Boys are raised and they never have to think about being made physically or emotionally uncomfortable in order to survive. That’s just a very bizarre notion and very oddly, uniquely female.”
To officially become a part of the Disney Princess Club, though, Vanellope must find her Disney princess song. This allowed Silverman to sing a perky number written by veteran Disney composer Alan Menken. The improbably named A Place Called Slaughter Race is duet between Silverman and Gal Gadot, who voices the tough Slaughter Race star Shank.
“That is something so iconic to me, and just the idea of getting to be a Disney princess but getting to do it in a way I couldn’t have made more perfect for myself had I made it by myself,” Silverman says.
“I just feel so warm about it and the way she expresses herself in this Disney princess song. First of all, just the deconstructing of the song and what it means to be a Disney princess and questioning what that means and the idea of questioning authority and questioning norms that we just don’t question because that’s always how it’s always been.”
Still, while these serious issues may be addressed in the film, Silverman stresses that the experience wasn’t anything but fun. It was fun to sing. It was fun to return to the vocal booth with Reilly, who has become a close friend since the two worked together on the original Wreck-It Ralph. It was fun to improvise.
“I think they always book about maybe an extra hour of time than they need,” Silverman says. “Because we get real chatty. And there is definitely an album — like a very rated R-rated comedy album somewhere in the audio footage of recording for sure.”
Has she given any thought to the possibility that she may be required to sing her Disney song at the Oscars? “It’s all I talked about when we were recording it, obnoxiously,” she says.