The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made

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Simon and Schuster, Oct 7, 2014 - Biography & Autobiography - 270 pages
Now a major motion picture—directed by and starring James Franco

From the actor who somehow lived through it all, a “sharply detailed…funny book about a cinematic comedy of errors” (The New York Times): the making of the cult film phenomenon The Room.

In 2003, an independent film called The Room—starring and written, produced, and directed by a mysteriously wealthy social misfit named Tommy Wiseau—made its disastrous debut in Los Angeles. Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Ten years later, it’s an international cult phenomenon, whose legions of fans attend screenings featuring costumes, audience rituals, merchandising, and thousands of plastic spoons.

Hailed by The Huffington Post as “possibly the most important piece of literature ever printed,” The Disaster Artist is the hilarious, behind-the-scenes story of a deliciously awful cinematic phenomenon as well as the story of an odd and inspiring Hollywood friendship. Greg Sestero, Tommy’s costar, recounts the film’s bizarre journey to infamy, explaining how the movie’s many nonsensical scenes and bits of dialogue came to be and unraveling the mystery of Tommy Wiseau himself. But more than just a riotously funny story about cinematic hubris, “The Disaster Artist is one of the most honest books about friendship I’ve read in years” (Los Angeles Times).
 

Contents

La France a Gagné
14
Tommys Planet
39
People Are Very Strange These Days
61
SEVEN
91
NINE
119
ELEVEN
152
TWELVE
175
THIRTEEN
190
Highway of Hell
213
God Forgive Me
230
SIXTEEN
243
SEVENTEEN
260
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About the author (2014)

Greg Sestero is a French-American actor, producer, and writer. He costarred in the cult phenomenon The Room. Tom Bissell is the author of several books and a winner of the Rome Prize and a Guggenheim Fellowship. He writes frequently for Harper’s and The New Yorker.

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