A $6 million vanity project, The Room’s production was a nightmare experience for all involved, with the twisted delusions of director, writer, executive producer and lead star Tommy Wiseau puppeteering the circus environment. Greg Sestero, who plays the disloyal Mark in the film, recounts the making of The Room in his new book, The Disaster Artist. It is an unorthodox cinematic experience, but it is quite possibly the best collective cinematic experience available. During screenings its flaws are enhanced by audience participation, whether it be through the throwing of plastic spoons at the screen or through dedicated fans dressing up as their favourite character. It is an excruciatingly painful but blissfully absurd education in bad movie making. A film so bad that fans around the world, including myself, gather for midnight screenings to witness its corny dialogue, wooden acting, red herrings, continuity issues, green screen disasters, characters disappearing and framed pictures of spoons, all wrapped in a tale of love, betrayal and loss.
It is from there that a worldwide phenomenon was born.įor those unfamiliar with the magic of The Room, it is the epitome of B-movie cinema. Destined for the scrap heap of film obscurity, two friends – who shared a deep passion for the The Room’s quirks and eccentricities invited – others to see the film in an empty L.A cinema. Tommy Wiseau’s 2003 magnum opus The Room has slowly become the stuff of cinematic legend.
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