The cult movie is a stalwart of American culture. Ignored upon its release, the film has found an audience years or decades later thanks to underground channels, backroom whisperings and recommendations from enthusiasts of the obscure. What, then, has the Internet done to the cult movie? Has the instant accessibility of all media, all the time, killed the opportunity for a small following to develop slowly? Must something be the Hot New Thing (with a short short shelf life) lest it be cast aside? Well, mostly.

But not if it's The Room.

The 2003 movie is a cult flick in the classic sense that it's something passed along from friend to friend, ignored almost wholly by the media. It has taken on a life of its own, growing from an almost imperceptible several-week run at a Los Angeles theater to a favorite at midnight movie sessions from L.A. to New York to Phoenix and Atlanta. But it's also not a cult flick in the classic sense; those movies tend to veer towards the fringe or the outré, generally trucking in sci-fi, fantasy and horror genres. The plot of The Room, however, is almost astoundingly mundane, detailing a love-triangle melodrama between our hero Johnny, his harridan of a girlfriend Lisa and his remorsefully disloyal best friend Mark.

What keeps 'em coming back for screening after screening, though, is the magnetic presence of Tommy Wiseau, the film's enigmatic writer, producer, director and starring lead actor, a man with a flowing mane of dark hair, an indistinct Eastern European accent and creatively unpredictable line delivery. The Room has been called "the best worst movie ever made," but that doesn't really capture its appeal. Sure, its occasional focus problems, overwrought love scenes and not-even-close-to-resolved plot points have drawn criticism, but despite the outward trappings of ineptitude, The Room boasts a deeply seeded sense that it is a truly personal project, that Wiseau is through his script, direction and acting putting raw emotion on display. In a way, it's like much of R. Kelly's musical output, or a high-school poet's private notebook: something so wholly idiosyncratic and of one mind that it's impossible to judge against other like efforts. And if nothing else, it's an antidote to the professional-to-the-point-of-pabulum fare most of the major Hollywood studios toss off every summer.

Filmed in both digital and film formats at the same time and funded with $6 million Wiseau raised himself, The Room has spread far and wide, and makes its Athens big-screen debut this weekend. There aren't a lot of real-world grass-roots phenomena these days. It seems like it's all LOLcat this and Internet meme that. But The Room is one of 'em, the real deal. I first saw the film while housesitting for some friends this summer. They left no notes for me in the house, save one: a Post-It stuck to the front of a DVD I'd never heard of. It was The Room, and the note said, "You must watch this, but you must not watch this alone. Watch this with friends." That advice holds true for the rest of you. Flagpole caught up with Wiseau last month and found him to be a personable, enthusiastic, generous—and just as strange as you might imagine—supporter of his own film and of the following it's developed. Read on, see the movie, then come back and read this again.

Flagpole: When you were growing up, did you watch a lot of movies?

Tommy Wiseau: Oh, yeah, sure!

FP: What were some of the first experiences you had with film? What were some of those early movies?

TW: Well, I guess you don't know me. I really don't want to talk about what movie I saw when I was little kid. But one thing I will say is I saw lot of movies. Movie is fun to see, you know what I'm saying? General speaking, I like drama, comedy… but mostly drama. Western movie is pretty good, too.

FP: Did seeing those movies when you were younger make you want to get involved in film?

TW: Well, you know I always wanted to be an actor, basically, and part of entertainment industry, basically. I always say like a different concept as well… not so much be part of it, I like to be comfortable in it. It's not like it was in my head hundred percent, you know what I'm saying? It was not something where it was like I will kill for it. I always believe in hard work, and if there are obstacles, I know you do not know me, so it's not… I can not give you straight answer, let's put it this way.

FP: In an interview on the DVD you said everyone should see The Room and…

TW: Oh, yeah! I believe it! Well, I always say… I'm very consistent in my answers. The different colors of the Hollywood means that… I did a lot of research, a lot of people don't realize that. I don't know you, Chris, you seem to have good voice, et cetera, but how do you write something? What will be there for people actually reading your article, whatever? Some people don't understand the concept. As you probably did the research, some people are writing, they all say oh, this happened by accident. Nothing happened by accident! You see, entertainment industry as you probably know… well, let me ask you question, how long you been writing about entertainment or whatever?

FP: I've been a writer for about seven years, I guess.

TW: Oh, well, okay, so you have experience so I don't need to educate you. But the fact is that a new project that I am involved with in past before The Room et cetera, you always have to prepare yourself. It's nothing happened by accident, especially when I decided to use the two formats. So, what was your question again?

FP: I was curious about why you think The Room can be helpful and why a lot of people should see it.

TW: Yeah, it was why I wanted everyone to… because really it's human behavior. You see, I can open the… The Room is by design for American people, you really think about it. But now we have so much actually good response from overseas, I don't know if you know, but we released it in London few weeks ago and released it as well in Canada. So, we got really a lot of emails as well, great response from public, seems to be that I always say also that The Room is for everyone but by design was for American people to explore relationships. The reason for I wanted everyone see The Room because you know The Room is like sort of red flag between relationships, if you really think about it, okay?

People are writing about technical aspects, this and that, but they are missing the point! Most writers, again I'm not here to offend you whatsoever, I think these people don't know what they talking about, basically! Because you see, if you look at whatever movie, I don't care what movie, what person, they say it's comedy. The more colors you have, the better it is. That's number one. Number two, I'm as a director what is my job? My job is as a director to provoke the audience. And if I provoke positive way, I did my job well. All the directors probably would agree with me, okay?

FP: What is it about American audiences that you've geared The Room to them, and would the film be different if you had made it for a different audience?

TW: I think, good question. The difference is because, coincidentally, somebody is send me email… [laughs.] I'm just laughing because your question is, by the way… very creative, I like your questions, overall. If I may say that.

The difference is because let's talk about football a little bit. Somebody just submitted to me some question in email, some blog whatever, but I was laughing because people criticize we can not play football two, three feet away! You know, I grow up from Bay Area, as well as New Orleans, Louisiana, et cetera, et cetera. Fact is, it's fun to do this stuff! And we are doing, okay! Some actually blog about it, somebody throw the football, the person ask the person "Did you see The Room?" It's just for fun? And the person say, "No, we didn't see The Room" or whatever after they go.

See, this is just example, to respond to your question, say by design we create The Room for Europe, they don't understand the football! As you know American football is different. What they call football which is soccer, if you really think about it, if you want to be specific. So, there is a lot of obstacles in The Room that relate 100 percent to American culture. I don't know if you, for example, Bay Area, Los Angeles, all the part, beautiful country, we have less and less places to express ourselves. You may think I'm crazy but I'm right about this. You see, you look at any person on the street, you may say oh, God, this guy's drunk, crazy, whatever. But people don't realize that it's a part of a nature. Part of a nature to yell. Part of a nature to sing. Or be quiet if you want! It's your choice! You know, less and less in America, we have… they take away parks, they do this, they do that… I say "they," the people who are in charge, politicians. I'm not politician, I'm simple guy, but I'm concerned with this stuff. It's very important people realize that, in America, I'm pro-freedom, we have to express ourself. This is our rights. And I don't think that one person can tell you what to do or tell lots of people, oh, yeah, you have to do this because we say so because somebody put some kind of rules and they didn't inform you about. And that's what The Room is about.

The Room is about you go to the theater, you can say whatever you want. And I'm thrilled about it that people actually express themselves and I always encourage that, and compare it to different films is fine with me! I always say you can laugh, you can cry, you can express yourself, but please don't hurt each other.

FP: I'm curious that in Los Angeles there have been screenings for years, and…

TW: Yes, six years. You are invited. If you are ever in Los Angeles, whatever. We had anniversary in June or July.

FP: What are some of the strangest experiences at the screenings you've shown up to?

TW: [Laughs.] You know what, I can write the book about it. One of the strangest things was one girl said, "Can I marry you?" But she was kidding, but she was also serious, believe it or not! It is like that. We play football, we throw the football, I throw it myself. Sometimes people ask me can you play and throw the football, and it's fine with me. Some ask different stuff. People dancing, throwing… did you see The Room, actually?

FP: I've seen it several times.

TW: Okay, so basically you know the party scene with Johnny, and people [in the audience] throw confetti, it looks spectacular, actually, to be honest with you! So again, by design, the public design they dress up in costume, et cetera, et cetera, and so everybody's different. People come yelling and commentarying about it. I think people enjoy themselves. It makes me very very happy, if you ask me.

FP: You mentioned that you had the sixth anniversary of the film this past summer. Do you ever feel after seven years that you want to put that part of your life behind you and move on?

TW: Absolutely not. I would be for the rest of my life attached to The Room. I am proud of my project, and the, by the way, you have good questions, I have other projects but I enjoy myself. I love public; I like fans. We just come back from ComiCon. The Room if you write about it every week or every month it would still be interesting. You could have different take by interviewing people, relationships. By the way, we have one guy, to tell you little story… [laughs] do you know the guy got married six years ago, right? They met at the screening of The Room, and guess what? He named his kid The. Room. [Laughs.]

FP: Seriously?

TW: I'm serious. And I was just like, ok, whatever, you know? Somebody should maybe write about this. He's nice, cool guy.

FP: Do you get recognized by fans when you're out in L.A.?

TW: I rest my case. If the answer is yes, it just goes all overboard sometimes. It doesn't matter for me. I know you wanna ask, you're curious, but yeah, sure. When I was in San Diego, New York, wherever I'm going people recognize me now. But it's nothing important for me. Why is it important for you to hear my answer?

FP: I'm just curious because I think one of the most interesting things about The Room is how it's become a word-of-mouth sensation. It's not a big studio project, and so I'm curious as to whether that sort of enthusiasm carries over to real life interactions.

TW: Yeah, it does, and sometimes it goes overboard sometimes. I'm driving my car, sometimes people stop, and so on… yes, it does happen. Yes. It does.

FP: I'm also curious about the marketing for the film. On the poster and the DVD cover, the photo of the Johnny looks a little sinister, but to me that's not really the character in the film. He's more the victim.

TW: You're absolutely right, but you see too, I did some research to provoke the audience to put what we call "Evil Man," "Evil Green Man," but for your information, if you go to our website we have two posters. We have been debating—I say "we" because I have a team of people who work with me on this—and we decided with "Evil Man," but at the website you can compare the two posters. One is Lisa, Johnny and Mark, and we decided "Evil" because they would be much more intrigued for public, general speaking. And that was the choice, but we actually have three posters, actually. The DVD also has the same thing, if you look on back.

FP: In writing this film, a lot of the women in the film can be pretty manipulative and the guys are the victims. Do you see a constant struggle between men and women?

TW: Well, you know, look into your life, I rest my case. Look at the numbers of people, divorces in America, or relationships. It's not so much struggle, the struggle is understanding two is better than three or three's crowd [laughs]. So, if you like your relationship, how respectful you are towards the person? Is it okay for you to love somebody who actually indirectly, you know what I'm saying… it's yes! But society will say to you probably not.

Because by saying this you are saying I have to have relationship much more closer, sexual relationship, whatever. The answer is no, you don't have to. And I think that people are realize that, but it's not enough. School doesn't teach that. Even life you have to go in a lot of different relationships to realize that. You may love their person but it doesn't mean you have to be sexual, you have maybe many many friends who you love dearly as brothers, sisters, whatever, but I think society, and sometimes in America we have groupies, and you have to say wait a minute, that's not how it works. That's why you have the quirky statement "two is better than three, three's a crowd." You see?

And I think people should realize that because we create society in America for better tomorrow, by relationships, not just by hard work, never mind about that. And I think if we are much more respectful towards each other, America would be better place. That's my point.

FP: During the several love scenes in The Room, there are a lot of very similar shots. Were any of them used twice?

TW: That's correct. Good answer! Statement, actually.

FP: Was that just out of necessity?

TW: No, not so much necessity, more, let me say again, the ratio of The Room was one to four. [Four takes were shot of every scene.—Ed.] On the 10th anniversary we'll be releasing a new version of The Room with another footage. We have another Mark. People don't realize that. We actually have two Marks at the time we shot the movie. We have a lot of different takes on the love scenes. The choice was. I was also involved in post-production, sound, et cetera. So remember, everything I have to approve from scratch. And I think again, some of the writers, I don't know if they don't do research or they don't realize that, or it's too vague or they don't ask questions or they scared to ask questions. But you see, what you see in the theater is 35 mm format and color corrections and sound, et cetera, there is certain process you have. There is no short cut, you have to do it. So, in response to your question, the reason I decide to use certain shot twice, similar shot, angle is slightly different, if you look closely, it's not hundred percent exact, but if you look at the eyes, it's not hundred. It's probably second take. We had ratio one to four. Keep in mind we had two cameras, that's another obstacle. So, you look in the theater, it's the same shot, but actually it's different, either different camera or take. You may argue because it's not hundred percent same.

FP: In the scene where Johnny gets drunk for the first time, is that whiskey and vodka mixed together that they're drinking?

TW: Well, this is the thing. You know, whatever you decided, that will be the answer. [Laughs.] You know why, because I can not tell you hundred percent the truth. Good actors can do anything and let audience decide it. By the way, it's a good question. The reason I'm laughing for it, is because you see we been struggling in a sense. How reality can knock in the door. How drunk Johnny can be? How to present it? I'm talking the director, if I'm looking Johnny with my eyes a little closed, I say well he looks not bad, actually! But you see what he is drinking, we let the audience decide it. But you are right on the money, let's put it this way. [Laughs.]

FP: Do you ever feel as a writer of the film that with some of the smaller subplots that pop up later in the film—the mother having cancer, a couple announcing they're expecting—that maybe some of these needed a little more weight, or that they might be distractions from the main plot?

TW: I think you have excellent question.

FP: …

TW: …

FP: Thank you.

TW: I commend you, very much so. And, I did the research. Let me tell you about cancer people. I did the research. My hobby is actually psychology, believe it or not. I studied psychology. I still do, actually. I some researches, I concluded, general speaking, again this is just the general speaking, almost 90 percent of people… you see, society is changing compared to the time when you were born, long time ago, when people actually cared for people who are ill. You know, "Can I help you," whatever. It was just different culture. We are in a different culture right now, and I personal think that my research—and I did several of them, I would say a dozen of them—indicates to me that people don't want to be bugging every five seconds. It's actually put down. It's like a put down. It's like the same thing when people say, well, where do you come from, what accent do you have? It's the same thing. And I think I am so happy that actually we got such a great response, general speaking, from people who actually ask single question which you ask about cancer, why is it only one time? Because Claudette, she doesn't wanna deal with that. And Lisa Johnny and others, they know about it. But they don't wanna ask her. They don't wanna ask her, you know, "Are you okay? Do you need help? What kind of therapies do you do? Are you due at a hospital appointment today? Tomorrow? Yesterday?" After the scene where she says she has cancer as you notice, Lisa just ignores that. She thinks, oh, it's not problem, we have a cure. Yes, we have a cure, but it's not hundred percent cure! Currently we do. Some of the stuff works, some of it doesn't. The question arise, what the heck? What is is your business to ask me personal question about that? That's what public should think about it. Is it right? Do we have a right to ask, as an individual, to another person, about personal thing which actually, maybe, destroy her or his life by even asking this.

FP: Have you experienced things like this with people asking about your life?

TW: I was in hospital, ask questions. I have some friends who actually have the cancer, they did therapy, observe them, and it's again, it's very eerie if I may say that to you, and again I commend you for question, it's good question. It's very eerie, very difficult situation for people who actually experience all this dilemma with their own lives. It's very difficult. And I think society is changing and I think little by little. It's okay to laugh, you see. I mean, look at some of the kids who have the cancer, you know? Some of the stuff is genetic, some of the stuff we don't know where it come from. You really think about it if you look at research, how many research there was, hundred year of research, 50 year of research of cancer, they still don't have hundred percent cure. Some of the stuff works, some of it doesn't, et cetera, et cetera. Especially women. Breast cancer. Men's, they have, too, as you know. So, it's a lot, it's big problem, big issue, but the good news is that yes, we find a cure eventually.

FP: Have you found that when people talk to you they're more interested in your private life than they are in The Room?

TW: Actually, it's a personal question, but as you probably notice, I'm a very private person. I did The Room very openly and I say this again over and over, I create The Room for people to see it. It's not just for me. I create The Room for people to have fun with it and maybe have better tomorrow. [Laughs.]

FP: The Room has been a very word-of-mouth phenomenon, but a lot of attention you get comes from online sources and blogs. Do you think the movie would have received the same attention maybe 10 years ago before the Internet was as prominent?

TW: Mm-hm… So, what is the question?

FP: Do you think the movie would have gotten the same attention before the Internet existed?

TW: Well, I guess you don't know me yet, so you see, Internet is Internet. But we've been screening The Room six years, and the fact is that you actually adjust currently to society, so The Room adjust currently. I'm thrilled that people are talking about The Room. Writers, public, they talk about some of the positive, some of the negative, they laugh, it's great. But probably you're right! It's not my opinion, but I agree with you. Let's assume for minute that we don't have the Internet, I would still show The Room. Because I am very stubborn guy! The Internet does not only help me, it's big studio releasing, too, just look. A big advertising concept behind it. Any advertising does help. We live in different society compared to, what, 70 years ago, whatever, so you're right.

Chris Hassiotis

WHAT	The Room
WHERE	Ciné
WHEN	Friday, Sept. 18& 19 (late show)
HOW MUCH	$5