Here, in hopes that it’ll motivate at least one or two of you to go and see the film, is an excerpt from that 2012 interview, where Riley and I talk about what he was hoping to accomplish with the film, which, at that point, he’d been hoping to star in.
MARK: You mentioned that you were making some headway in Oakland with the fast food workers. What happened with that?
BOOTS: The main problem was convincing other folks in Occupy Oakland that it was something worthwhile compared to the other things that were going on. There are so many things going on with Occupy Oakland. People are spread really thin. So, it just wasn’t the time to bring this out. People weren’t down to dedicate the time.
MARK: It’s tough. It seems, with the Occupy movement, that so much time and effort is spent providing social services… like just recently, with all of the Occupy Sandy stuff. There are just so many needs that have to be addressed, that it takes up a lot of the bandwidth.
BOOTS: I think Occupy Oakland is different. It does provide services, but in the midst of campaigns. We’ve got the foreclosure defense stuff going on. And we’ve got various folks working on police brutality stuff. There are all sorts of things happening. Some people don’t want to do the service stuff and all, and, other people, that’s their thing. They like feeding people.
MARK: So it wasn’t a question of capacity. It was more a result of an internal discussion within the organization concerning priorities.
BOOTS: Yeah, a fast food workers union seems like a good idea, but the question is whether fast food workers would be down with it, and you’re not going to know unless you’re part of that outreach. And, at the same time, we had the school occupation happening, and a lot of people were involved in that. There were foreclosure defense actions. There were neighborhood assemblies. We were declaring moratoriums on foreclosure in certian neighborhoods. So, a lot of people were doing many different things. So, that was part of the problem at the time. Then there’s people that had experience organizing unions, and many of them wanted to be sure that it was their union that got to do it, and it was just too early to declare that. Let’s put it like this… It wasn’t for lack of wanting by people that were in fast food work. We actually had people that were down to do it, and we had a few things in place, we just didn’t have enough people to really carry it through.
MARK: Speaking of the plight of low-paid workers, your new album, Sorry to Bother You
, is about telemarkting, and, in a broader sense, I guess, it’s about shitty, low-paying jobs in general. In addition to just being a good record, in the tradition of The Coup, is there a bigger message behind it? Are you trying to rally support for anything specific? Does either the album, or the movie that you’re working on, which uses the album as a soundtrack, touch on, for instance, the importance of organizing low-wage workers?
BOOTS: Not specifically around organizing telemarketers. The movie has some stuff about a union that’s being attempted at a telemarketing spot. Which is what was happening at the place that I worked at (when I was doing telemarketing). But it’s not specifically around organizing telemarketers. It’s around organizing people in the workplace in general.
MARK: So that message is in the movie?
BOOTS: Yeah. Yeah… Well, I don’t know that the “message” is in the movie, but the situation is in the movie.
MARK: Are you in pre-production yet for the movie?
BOOTS: I guess, technically, yeah.
MARK: Your producer, I’ve read, is Ted Hope, who produced movies like The Ice Storm, Happiness, American Splendor…
BOOTS: And 21 Grams. And the director is this guy, Alex Rivera, who did this movie called Sleep Dealer.
MARK: How’d it all come together?
BOOTS: I just kind of put a blast out to people I know, and Danny Goldberg, who was managing Street Sweeper Social Club, and also used to manage Nirvana and work with Led Zeppelin, read it and loved it. And he got it to Ted Hope. And Ted Hope was like, “I want to make this movie.” It probalby also helped that I had a soundtrack.
MARK: How did you sell them on the idea that you would be the right person for the lead? Or was that just part of the deal going in?
BOOTS: That was just part of the deal. I was like, “I’ve written this script. I have the soundtrack. And I will play the lead.” So, if somebody did’t like that, they just didn’t respond… It’s also a good marketing thing for them too. You know, if it’s going to be an independent film, there’s probably going to be more interest in it if the creator of it is part of it as well. I’m acting all the time anyway.
MARK: What do you mean… on stage?
BOOTS: Yeah, as a performer – it’s theatrical.
MARK: Had you attepted to do someting like this before? Didn’t I hear about a book that was being written from one of your songs, and the possiblity that it may turn into a film as well?
BOOTS: So a woman heard a song (Me and Jesus the Pimp in a ’79 Granada Last Night) and wrote a book based on it… I didn’t want the movie made. It had the potential to be a very terrible movie, if not done by the right person… I didn’t like the themes. She took the story and read things into that I…
MARK: With this new record, when you started writing it, did you know that you wanted to see it evolve into a dark comedy…
BOOTS: Well, I wrote the script first. I took like a year and wrote the script, while my manager, agent and record label said, “What are you doing?”
MARK: Because they wanted to keep you recording, and playing on the road…
BOOTS: Yeah. Yeah. It’s like, “You’re not going to get a movie made.” They wouldn’t say it in exactly that way, but that was the thought.
MARK: So, you think that it will do well in the marketplace… that people will buy tickets and like it?
BOOTS: Oh, yeah. There are people that have read it that I trust, that think that it’s a great, new, and interesting thing.
MARK: I’m happy for you… You put something out on Twitter a few days ago. “I realized five years ago,” you said, “we’re never going to go platinum, we’re never going to get radio play, we’re never going to make money at this.” Is part of this movie thing because you want to reach a wider audience, or is it more about paying the bills?
BOOTS: I don’t think people are able to pay bills on independent movies.
MARK: I imagine that you’d get a cut on video sales, right?
BOOTS: Yeah, but think about the time that you spent on it.
MARK: I guess what I was getting at is that it’s probably a little more lucrative than the record business.
BOOTS: Maybe for somebody. But independent movies? No. It’s not like that. It’s a labor of love. But people want to make some money at it. And that’s one thing about Ted Hope. He’s an independent movie guru. He’s someone who’s able to make independent film turn a profit. But, again, like I said, the amount of profit, compared to the amount of time put into it… It’s not like some cash cow. But it’s possible, you know. Maybe it could be some breakout hit. But it’s not real likely to happen. And that’s the name of the game in every industry. “More work for less pay.”
As it turns out, Riley didn’t end up playing the lead. He did, however, direct… Here’s the trailer.
