MARK: You guys are too much. Hey, are you running Bay to Breakers this year?
JOHNNY: I am, sure.
PETER: Not doing it this year.
JOHNNY: Hehe, chicken, Peter, you’re just a little chicken. Cheep cheep cheeeeeep [unidentifiable high-pitched noises]
PETER: Who you calling a chicken? I just don’t like all the weirdos. There’s… too many weirdos there.
I transcribed the above dialogue as accurately as possible from one scene from Tommy Wiseau’s self-produced 2003 film The Room. In it, two of the film’s main characters, Mark (Greg Sestero) and Johnny (Wiseau) share a moment with their psychologist(?) friend Peter (Kyle Vogt) in Johnny’s living room. Wiseau, who also wrote the script and directed the film, seems to have little grasp on (1) how “guys” talk when they hang out or (2) editing. The script goes out of its way to mention the Bay to Breakers run, a San Francisco institution that began in 1912, throwing yet another local-ism onto a haphazard pile of ways through which Wiseau “places” his film.
The Room is, by some measures, up there with Vertigo (1958), The Rock (1996), and Homeward Bound 2: Lost in San Francisco (1996) as quintessential ‘San Francisco’ films, which is ironic for multiple reasons. Most obviously, outside of Hitchcock’s masterpiece, none of those films are regarded as AFI-level cases of cinematic genius. The Rock, for one, is a loud, stupid and incredibly fun Bay/Bruckheimer film that reinvented Alcatraz and gave us the greatest piece Elton John-related dialogue in cinema history. The Homeward Bound films were family-friendly crowd-pleasers that starred adorable, wisecracking pets. The Room, however, is its own beast. Despite being, by many measures, one of the worst (or at least surreally stupid) films ever made, it demonstrates how valuable poorly-made films can be in understanding representation of urban landscape.
Film and Urban Geography
Cities provide ample inspiration to artists of all media, and in turn become drawn, filmed, sang about, and ultimately interpreted based upon their art. This phenomenon has been well-documented among cultural geographers. In film, Chris Lukinbeal has published numerous pieces about the multi-faceted geographies of the film industry, both part and parcel of Los Angeles and how other landscapes are interpreted through cinema. Many geographers have expounded upon the relationship between music and place, and Lily Kong wrapped many early examples into her 1995 call for greater involvement of music in geography. Steve Hoelscher has dedicated much of his recent work to the Magnum photography archive and even examined the effect of photography on historical urban geopolitics. Creating a comprehensive catalog of literature here would be a herculean task.
Back to The Room. Like most who attempt to break down its threadbare plot, pointless characters, and insanely counter-intuitive production values, I struggle at explaining just how bad it is. Cult audiences equally celebrate its awfulness as the worst film ever made as they do flock at a chance to see it in a communal (often intoxicated) environment and engage in a culturally-circulated set of practices that go with the screening. Audience members scream along with silly lines of dialogue, shadow-cast questionably useful scenes with the main characters tossing footballs to one another, and even shower the screen with plastic spoons at various specific cues. Film scholars like Matt Foy have gone into great detail about these sub-cultural rituals, even in cases, succinctly (as possible) explaining what the movie is about:
In addition to Johnny, Lisa, and Mark, the key players include Denny (Philip Haldiman), a good-natured but awkward man-child who lives next to Johnny (Johnny pays his college tuition) and seems to lack basic social skills (early in the film, he joins Johnny and Lisa in bed pre-coitus to “watch them” but seems unaware of the sensitive nature of his request), and Claudette (Carolyn Minnott), Lisa’s mother who simultaneously praises Johnny while encouraging Lisa to exploit him financially because she cannot support herself. Other characters meander in and out without affecting the plot, mostly as foils to establish Johnny’s pristine character or Lisa’s manipulative heartlessness. The result is a film so earnest yet strange that it attracts audiences through morbid revulsion (Foy 2012, 5).
I’ve written previously (for a course on Global Soundtracks) about how The Room reinforces the importance of bad movies in the conversation on film music. Where great films with iconic and/or Oscar-winning scores have been teaching young filmmakers and cinema scholars the “do’s” of film music, bad films could be equally valuable in teaching the “don’ts.” This dynamic applies equally in understanding how films reflect and represent urban spaces, particularly in the United States, and even more particularly in San Francisco. Where Vertigo demonstrated how Hollywood films can work with, and flourish through, urban iconography, The Room provides a beacon of trying too hard to do so, and looking silly in the process.
Tommy Wiseau’s San Francisco
Though Los Angeles is well regarded as “the world’s most photographed city” (cf. Thom Anderson’s brilliant Los Angeles Plays Itself), San Francisco is definitely among the top runners-up in that category, as well as among the most mythologized and laid-bare in its iconography. The Golden Gate is probably North America’s most iconic and grandiose bridge outside of Brooklyn, Alcatraz is among her most storied and infamous small islands (and prisons), and the Painted Ladies row of houses has embedded itself into our national subconscious both through films featuring Robin Williams in drag and through sitcoms featuring Bob Saget working clean. Rice-a-Roni commercials carved such a hegemony in the 1980s and 1990s that cable car operators could not avoid mentioning it to over-zealous, jingle-singing tourists on their routes.
It is through these cinematic representations of his adopted hometown that Tommy Wiseau weaves his overbearing establishing shots. Where most filmmakers implement one or two establishing landscape shots of the city setting, Wiseau inserts at least twenty. The first two minutes of the film become a veritable catalog of cliche’d imagery of the Bay Area. The viewer sees, interspersed with the opening credits, a wide shot of the Golden Gate Bridge, a bucolic fishing dock on the North Bay, another wide shot of Alcatraz Island, a shot that tilts up from the Bay to a San Francisco skyline silhouetted through fog, a (slightly) tighter shot of a cruise boat passing under the Golden Gate Bridge, a shot that slowly pans across the Palace of Fine Arts (the site of a dramatic scene in The Rock), a shot that tilts down Nob Hill, a shot that tilts down with the Painted Ladies houses in the background of Alamo Square Park, a shot of a cable car (with our hero on it… a true man of the people) passing in front of the Grace Cathedral, and ultimately, the often-recycled exterior shot of Johnny’s condo.
To the Western viewer, any one of those shots might be sufficient in establishing where the movie takes place, but Tommy Wiseau doesn’t know the meaning of cinematic restraint. (Seriously, he may literally not know the meaning of the term). He removes any doubt whatsoever of where we are, and despite having an ‘insider’ knowledge of San Francisco, he runs lovingly into the arms of cinematic cliche and reinforces the most mainstream, ‘outsider’ perspectives of that city’s icons.
Taken as a whole, these are examples of how filmmakers (both talented and less so) conflate the “real” with the “reel.” The “real” here is the fully extant city of San Francisco, which is a living, functioning, and constantly changing city that millions of people pass through each day. The “reel” in this case is a socially accepted and publicly ascribed cinematic landscape that completely disregard’s the city’s hinterland and even most of its forward-facing public sphere. In real life, Tommy Wiseau grew a minor clothing empire, accumulating enough independent wealth to purchase a building not far from the tourist Mecca of the Marina District and Pier 39. In reel life, Johnny (no apparent last name) makes good money working some nondescript job in a bank and lives in a nondescript condominium.
Wiseau’s script (the incongruity of which could probably formulate its own MFA thesis) often conflates the real and reel. For example, in another selection from the inane dialogue bullpen, Mark tells Johnny about a girl he knew who had been abused to the point of winding up “in a hospital on Guerrero Street.” Wiseau, for reasons only known to him, either used this line as a cute way to work Guerrero Street into the script, or he just could not think of any other street than the ones he had previously lived on. In the real San Francisco, there has never been a hospital anywhere on Guerrero Street, but because of Wiseau, there is one in reel San Francisco.
As with this apocryphal hospital and the superfluous conversation about Bay to Breakers, Wiseau takes special care to “place” his film in San Francisco, going out of the way with incorporating verbal/contextual representations of the city as much as he does with tired visual representations. Where the common mantra implores artists to “show, not tell,” Wiseau has managed, with his city, to show AND tell in a manner that is as overbearing as much as lacking in self-awareness. Granted, his motivation to do so renders these indiscretions marginally understandable.
The “Roof” and a Distorted Skyline
As the story (specifically, Sestero’s believable version) goes, the duo met in an acting class in the late 1990’s. Wiseau decided that he wanted to break into Hollywood, so he wrote The Room and decided to shoot it himself when he (for some reason) couldn’t find a major studio to produce it. They did all the principal filming in Los Angeles between a sound stage that played their condo, one that played a basketball court, and a couple of exterior shots in an alley near the lot where their camp set up. A number of the movie’s most popular scenes (e.g. the “WHAT KIND OF MONEY?” scene involving Denny’s near-deadly run-in with completely incongruous Armenian-American gangster Chris-R; the aforementioned Guerrero Street conversation; a stoned Mark nearly throwing Peter to his death when confronted about his affair with Lisa) took place on the condo’s roof.
This “roof” was actually played by a ground-level scene set built in front of a poorly-lit outdoor green-screen that, as Sestero explained, rendered these scenes with an otherworldly, unsettling glow. The San Francisco skyline digitally placed behind the actors, manipulated liberally, may constitute one of the film’s greatest “crimes against geography.” Though these rooftop scenes purported to “place” the film among the San Francisco skyline, they only confuse the viewer trying to obtain some sense of the condo’s location (real or reel). If this were a real location, either the building would have had to rotate or the buildings would have had to flip locations around them. Perceiving the reel location, however, accounts for the appropriate suspension of disbelief.
“That’s Meeee”: Forays into the Real San Francisco
Once the principal filming in Los Angeles had wrapped, a skeleton crew including Wiseau and Sestero (who also line-produced the movie, because why not) went up to the Bay to shoot these scenes that would reinforce the viewers’ imagined geography of The Room. These included all of the establishing shots from the beginning of the film as well as those used for scene transitions, many of which were filmed at varying levels of legality. Three of these scenes included dialogue between Johnny and Mark, two of which are both deeply carved into the “best worst movie” canon.
One of these three only features cursory, dubbed dialogue of the two running together around Golden Gate park, ultimately tossing a football and tackling one another homo-erotically. The two others include one confusing scene (“anyway, how’s your sex life?”) filmed in a cafe and another filmed in a Flower shop. Before I discuss the Flower Shop scene, please take a 6-minute break to listen to this amazing excerpt of Greg Sestero reading his account of how the scene came to be, and then watch it here:
I’ve gone on record saying that one could probably write a whole peer-reviewed academic paper about everything that’s wrong with this scene (my favorite assessment being Roadtrippers’ dubbing it a “black hole of human interaction” on their page of The Room locations). That being said, the Flower Shop scene provides one of few moments throughout the movie where the reel and real converge.
While the scene exists primarily to reinforce Wiseau’s narrative that Johnny is a perfect person (he is the florist’s favorite customer, after all), the location coheres both inside the shop and outside at the establishing shot on the corner of 16th and Dehon Street. While the Flower Shop scene may be one of the most terribly crafted scenes in one of the most terribly crafted narrative movies, it is the most geographically honest moment in The Room. The exterior shot was real, the interior of the shop was the real interior, the owners were the real proprietors, and that old pug on the counter (“Hi, doggie!”) was an authentic fixture of the shop as well. Only the skeleton crew’s makeup artist (seen looking at cards near the register) and Wiseau are pure fabrications of the reel.
Despite the film’s shocking $6 Million budget, The Room‘s stripped-down construction of place is a great tool for teaching these fundamental aspects of cinematic geography. Whereas other movies like Homeward Bound: Lost in San Francisco (much of which was filmed in Vancouver, a city known for playing everywhere but itself in Hollywood films) provide a cursory glance at the discrepancy between the reel and the real, Wiseau’s inept production hits you over the head with this contrast. The establishing iconic landscape shots, while themselves intended as a manifestation of Wiseau’s love of San Francisco, are so overdone, cult screening audiences often take to call-and-response screaming of “WHERE ARE WE? / SAN FRANCISCO!” and “GO! GO! GO!” as the camera slowly and clumsily pans across the Golden Gate Bridge.
None of this, of course, fazes Wiseau. As Sestero wrote in his book’s introduction:
The magic of The Room derives from one thing: no one interprets the world the way Tommy Wiseau does. He is the key to The Room’s mystery as well as the engine of its success. Tommy had always predicted his film would become a classic, embraced worldwide – a notion that could not have seemed less likely. Yet he was right. The Room became every bit the blockbuster that Tommy had envisioned, though not, of course, in the way he envisioned… Tommy continues to believe that his is the greatest film of all time” (2013, xv).
Similarly, this relationship between this great terrible movie and San Francisco only reinforces my enjoyment of The Room. Throughout my last two years living in Washington, DC, my friends and I would attend monthly midnight screenings at E Street Cinema, often dragging unsuspecting friends into the fold. The first time I went to see it, I invited a friend who had just been through a rough time in her life. Within months, she was organizing outings to the screening, even celebrating her following birthday at a screening. In July 2010, Wiseau and Sestero visited a screening there. Two of my friends, both wondering what the hell was going on, wound up sitting next to each other. They exchanged numbers, and six years later, are newly married. It does take a certain kind of appreciation of the surreal and the absurd to enjoy this movie, and the people I grew to enjoy it alongside became some of my best friends from my life in DC. Now, as I begin a career teaching cultural geography, I’ve found surprisingly relevant ways through which this great horrible movie has informed my research. Though Stefan Popescu (2013) may be correct that “the best worst movie” craze may not be sustainable, but as a singularly charming flagship of that movement to the media scholar, The Room is Tommy Wiseau’s demented gift that keeps on giving.