“There’s a few people hating it, so that feels good.” BootsRiley hopped on a call with the writer-producer TzeChun to chat about the importance of morale in a writer’s room, preserving your integrity in Hollywood, and 'I'm a Vrigo.'
uses magical realism to advance its thesis about race and poverty in America. Its protagonist is Cootie, a 13-foot-tall Black teenage living in Oakland who, when we meet him, is determined to break out of his sheltered existence. He lives with his adoptive parents, who’ve kept him in hiding, where he’s made to read for 10 hours a day. “People are always afraid, and you’re a 13-foot-tall Black man,” explains an acquaintance.
CHUN: That was one of the things that I found so hard about indie film. If you’re lucky, you get to make a movie every four years. And then what if people don’t like it? What if you do a bad job? I did a movie that was well-received and then spent three or four years on a movie that wasn’t. So I wanted to get into network TV, because I was like, “Well at least I’ll be doing 22 episodes a year, working all the time, getting better at writing.”CHUN: When I first started, I did.
RILEY: I think in big budget films and in TV, there are people involved in setting the budgets that don’t actually make [films or series]. So it’s hard to convince people that you can do grandiose things with a certain budget. So we had to wage a fight. CHUN: Yeah, especially ‘cause Scat doesn’t have a ton of scenes before he dies. But also, in terms of casting, the cast members didn’t really know each other before they came to set and they became good friends. I think you could really feel that. A lot of times, if you’re writing a TV show, you’re like, “Okay, we want to differentiate these characters. Who are each one of these characters?” But I really like that we did something different.
CHUN: When I first moved out to L.A., I sold a pilot and it didn’t go forward. And I remember thinking, “I’ve got to be patient and learn this process and see how this is done.” And then in five years, I’d done 100 episodes of TV. And the biggest lesson I learned from that time period was that the most precious resource in the writer’s room is morale. Everything else is secondary to that. Writing is too hard of a thing to do every day if you’re dreading it.
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