Some of the greatest artists of our generation are
people who commit to their work so fully that they themselves become part and
parcel of that art, but no one — not Bjork, not Marina Abramovic, not even
Prince — does it quite like Tommy Wiseau.
The creator (and star) of the cult movie The Room,
Wiseau initially tried to sell his love-triangle drama about a banker and his
fiancée as a play and a
500-page book, before scraping together a reported $6 million to turn the
tale into an independent film on his own. Despite renting a giant billboard on
Highland Avenue in Los Angeles to advertise what he hoped would be a successful
Hollywood film, the self-funded drama flopped pitifully in 2003 — before making
a miraculous comeback as a cult favorite.
Over the last ten years, The Room has
developed a devoted following at the sort of midnight showings where one might
otherwise find The Rocky Horror Picture Show, while the colorful Wiseau
has increasingly become a living extension of his infamously terrible art. And
even now, in the midst of the 10th anniversary of the
film, no one is sure whether or not it’s on purpose.
A decade into his life in the limelight, Wiseau is
still a shambolic figure, even for the world of cult celebrity. For a long
time, it was difficult to tell whether or not Wiseau was in on the joke that
made The Room successful. Did he really shoot the movie in alternating
35mm film and digital dilm on purpose, as he explained to the media, or was he
just confused as to which was which? Did he honestly intend for The Room to
be a “black comedy,” as he’s claimed in the past, or was he just so dedicated
to the melodrama of Lisa
tearing Johnny apart that he never realized how absurd its abandoned plot
lines, recycled bedroom scenes, and inexplicably tuxedoed football games really
are?
His personal email address is easily found online;
it’s the primary contact info on the
website for The Neighbors, a television show Wiseau has being
attempting to get off the ground since 2007. His “assistant” — a person named
“John Caffrey” — not only reads his boss’s personal emails but uncannily shares
his distinct speech patterns (Wiseau talks like Alex Perchov, the comedically
Ukrainian narrator of Jonathan Safran Foer’s Everything is Illuminated,
except he’s real). The only other place this assistant exists
on the Internet is a YouTube
account whose sole activity is leaving theatrically impressed comments
on Tommy Wiseau videos and Wiseau-related comments on random videos about Paris
Hilton. After I sent an interview request to Wiseau, “John Caffrey” responded
within hours, arranging a time for Tommy to call with the message, “let us know
if the above schedule is okay with you if not what is your suggestions?”
When WIRED got him on the phone last week, Wiseau
demonstrated a series of truths: Regardless of how self-aware he is — or was —
about his movie, he’s good-natured enough to play along with becoming famous
for being terrible, and smart enough to keep every detail of his personal life
(including whether he’s got everyone fooled) a complete mystery.
1.
Wired:
How does it feel to make a movie and have people want to celebrate its ten-year
anniversary?
2.
Wiseau: Okay, we started interview right now?
OK, cool, cool. You can ask whatever you want, doesn’t mean you receive the
answer, right?
3.
Wired:
That sounds fair enough.
4.
Wiseau: I want you to have happiness at the same
time.
5.
Wired:
Okay, I’ll do my best to ask questions you can answer, though.
6.
Wiseau: You know, I am pro-freedom. So what’s
your question?
7.
Wired:
How does it feel to have people want to celebrate ten years of your movie?
8.
Wiseau: You know what, I’ll be honest with you,
I am completely shocked. I really mean it with a very sincere way, because my
original plan was, you probably know about billboards,
we did have billboard for past five years, over five years. So my idea was to
produce the movie, have a billboard and move on to the next project. It did not
come out that way. But happy to report, very happy what’s happening now and I
don’t know if you know but I want to tell you at the same time that we are
worldwide right now. We just opened recently Portugal, Poland as well.
9.
Wired:
How many screenings do you think have been held since The Room was released?
10.
Wiseau: Well, let me finish my answer to first
question. I’m very happy where… As you know, originally supposed to be a play,
and it didn’t come out. I decided that wait a minute I don’t wanna do a play
because no one especially in America goes to the theatre… because I’m a stage
actor, believe it or not.
If a lot of this conversation
sounds familiar (because, say, you have an exceptional memory for Tommy Wiseau
interviews), it’s because Wiseau gave roughly the same
interview to Indiewire in 2011. He swapped out certain details
to make it timely, of course, but as our conversation went on, more and more
familiar pattern emerged. He has a habit of using idioms like “as you probably know,”
“believe it or not,” and “for your information” to segue from direct questions
to the entirely different topics he would prefer to discuss, like The
Room‘s international success and its forthcoming Blu-Ray edition, offering
to send me a copy multiple times (“free of charge, free of charge,”). Once, he parried
a question by complimenting my interviewing skills… and immediately moving onto
another tangentially-related idea.
At first, when I got off the
phone with him, I was a bit disappointed. Almost every answer seemed intensely
studied, like this conversation was his next film project and we were running
lines (only problem: we’d brought different scripts to rehearsal). Every
response seemed to come out exactly as planned — vague, yet full of positive
reinforcement — but rarely offering anything meaningful beyond a “yes” or a
“no.” It felt like, once again, Wiseau had entered the ring with a
journalist, and come out on top, or at least without offering me anything I
didn’t already know.
But then I realized: Isn’t that sort of the whole
point of Tommy Wiseau and The Room in the first place?
Some people believe it’s all an elaborate act, that
Wiseau has known exactly what he’s doing the whole time, like a Real-Deal,
long-game Joaquin Phoenix — a walking, talking testament to the
superficiality and ineptitude of traditional cinema. One film professor even argued that
Wiseau’s movie was “the Citizen Kane of bad movies,” and that it
“exposed the fabricated nature of Hollywood.”
Wiseau has one of the most
recognizable and odd faces in cult film, but despite years of interviews and
fan Q&As, no one knows where he’s from (not even his cast and crew), whether he actually went to film
school (he refused to tell WIRED where he studied), or how he actually makes a
living. He couldn’t have raised the millions of dollars he put into The
Room‘s budget simply by importing Korean leather jackets, could he? He can’t possibly
be living in Los Angeles solely off The Room screenings and the occasional appearance on Tim & Eric Awesome
Show, Great Job!, can he? He won’t even divulge the name of some recent movies he’s seen;
“I like dramas,” is the most specific he would get, though he did admit he’s
not a big fan of other bad cult movies like Troll 2.
In one of his few tangible responses, Wiseau
acknowledged The Room‘s reception wasn’t what he expected (“I want people
to have fun with it, and if they do, I did my work as an entertainer”). But by
accepting the fandom that his movie inspired — even if it wasn’t the fandom he
went looking for — Wiseau has achieved his own distinct form of success. He
found a way to make the The Room into both the the book and the play he wanted it to
be. He’s
giving talks to students at Oxford and Harvard. [BritMarling. BillMaher.
GilHoffman. ThomasFriedman. CharlieRose.] And
best of all, people want to see his movies.
In the beginning, no one could tell where The
Room ended and Tommy Wiseau began, and a decade later, he’s managed to
keep it that way – and his fans are still into it. He’s found success by
being terrible at what he does, or perhaps by being really good at
being terrible at what he does, while handing
out encouraging affirmations along the way. And isn’t that what makes
the whole phenomenon remarkable?
I’m still not sure if I’ll take Tommy up on that
“free of charge” Blu-Ray, though.
New York City’s Sunshine Cinema will be hosting back-to-back special
tenth-anniversary midnight screenings of The Room this Friday 9/6
and Saturday 9/7. Tommy Wiseau and Greg Sistero, who plays Mark in the film and
is also credited as its line producer – and is releasing
a memoir about filming The
Room this fall – will attend and hold live Q&As
after the movie. For more screening information, visit the film’s colorful
official website.
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