You’ve done TV, movies, and animated projects. Is there one more than the others that you find more creatively liberating?
No, I think they all have their benefits. I mean, when you do a film, you know what the full arc is. You know that you’re telling this story and this is how this person started out and this is how they ended. And there’s something very satisfying because you can really manipulate and make sure that the storytelling is complete and thorough. And when you do television, you can be like, “I thought this about my character, but you know what? I just got a new script and it says this about my character”. So talk about rolling with the punches. That’s like, you’ve got to be open to like constant new information, and digesting that and incorporating it in like “okay now I have this much more history, now I have this much more history”, so that’s more of like an ongoing story. But also fun.
Something that really separates Gabby Gabby from previous Toy Story villains is aside from her creepy façade, she’s not really the villain. And I’m curious if you could talk about that decision and the overall effect you think it had on the narrative.
Well, we were saying that it is kind of refreshing, and really smart writing that she isn’t just like “that’s the bad guy”. But they did such a great job manipulating it with music and light and the reveal of her, and then so when the switch happens, you’re like “ohhh that’s okay.” You know, but it’s still consistent.
Yeah, completely. Cause the one thing I noticed about her was she was so calming in her approach. And it was like kind of unpredictable, but then when the reveal started to happen, you’re like, you’re right, you just kind of roll with it.
Yeah, and so the approach to the voice and how we did it, was like, just genuine and sweet, and then we realized: the sweeter the creepier. You know, and until you change the perspective, and the music changes and the light changes and then all the sudden you’re like “wait it’s the same character and she’s talking the same, but I understand her now.” And that’s a testament to the director and the animators, and, you know, that’s what they do that’s just so amazing.
I was just talking to Tony (Hale), and he was saying one of his favorite parts of the film is the relationship between Forky and Gabby Gabby. I’m wondering if you could talk about that relationship a little bit and how you think it changed the perception of that character.
We were saying maybe Forky was maybe her only friend she ever had. Benson’s [ventriloquist dummy] not adding a lot to the conversation. Benson’s not contributing. So she’s sort of been sitting up there and obviously she seems to know Bo, so she’s had other people in her life, but I don’t think Bo was ever really a friend. And so there’s this scene where it seems like she’s just sort of manipulating Forky, but I think she also really enjoys having someone to talk to.
Whether it be in Mad Men or Firefly or Toy Story 4, you appear to be drawn to characters who are much more than they initially seem, I guess you could say. What is it about them that makes you gravitate toward them?
Early on, something like Firefly, I was just thrilled to get the job. It just turned out that the character was awesome. But I was out there pounding the pavement, trying to get a job as an actress, and I got this job on a show called Firefly. And who knew it was going to end up being the phenomenon that the show was. And that was very very specifically on the page. Like you think she’s one thing and then turns into the other. And I think, someone like Joan [Holloway] or something, or, some of the other things that I just think that they’re multi-dimensional people. And that’s what Matt Weiner did with all the characters on Mad Men, is like, you know, Pete Campbell isn’t just a worm. There’s this other side. And it’s why we can play it for seven seasons. That’s why it’s so good! So what draws me to them is that they’re written well.
“Toy Story 4” is now playing in theaters.
