I took the nearly empty kettle off and went upstairs.
There was a kettle of boiling water on his stove, whistling away. I walked through his front door, which was ajar, and called his name. Yet he was insisting on morning shoots for Th e Room.Īfter quitting my job at French Connection, I parked my Lumina in Tommy’s driveway. He typically goes to bed around six or seven in the morning and gets up at three or four in the afternoon. In my defense, Tommy’s interior clock is more attuned to the circadian frequencies of a bat or possum than a man. This would remain my job for the entirety of filming, during which Tommy was routinely three to four hours late. On the first day of Th e Room’s production it was my job to make sure Tommy got up and to the set on time. In the following excerpt, Sestero describes the improbably difficult task of getting Wiseau to set on the first day of shooting. On Tuesday, Simon & Schuster will publish The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made, Greg Sestero’s first-hand account (co-authored with Tom Bissell) of the making of the film.
As anyone who has seen The Room can attest, the 2003 film from writer, producer, director, and actor Tommy Wiseau isn’t just awful, it’s hilariously awful.
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