Greg Sestero Quotes & Sayings

We'd been shooting this idiotic conversation for more than an hour. — Greg Sestero

I looked at the actors with whom I'd grown so familiar over the last few months: Scott Holmes (who was playing Mike - and who was eventually credited as "Mike Holmes" because Tommy forgot his real name), — Greg Sestero

The Room is a drama that is also a comedy that is also an existential cry for help that is finally a testament to human endurance. — Greg Sestero

I still can't unsee Tommy's outfit: nighttime sunglasses, a dark blazer as loose and baggy as rain gear, sand-colored cargo pants with pockets filled to capacity (was he smuggling potatoes?), a white tank top, clunky Frankenstein combat boots, and two belts. Yes, two belts. — Greg Sestero

Money, you could say, was the elephant in The Room. — Greg Sestero

Don't you take the past and just put it in a room in the basement and lock the door and never go in there? That's what I do. And then you meet someone special and all you want to do is toss them the key. Say, "Open up, step inside." But you can't because it's dark. And there are demons. - Tom Ripley, The Talented Mr. Ripley — Greg Sestero

Gene Simmons after three months in the Gobi Desert? The Hunchback of Notre Dame following corrective surgery? An escaped Muppet? The drummer from Ratt? — Greg Sestero

What I was sure of was that Tommy had something I'd never seen in anyone else: a blind and unhinged and totally unfounded ambition. He was so out of touch, so lacking in self-awareness, yet also wildly captivating. That night there was this aura around Tommy- an aura of the possible. — Greg Sestero

With that, Tommy went off to do his seagull thing elsewhere on set - making a lot of irritating noise while simultaneously shitting on everyone. — Greg Sestero

You love somebody. Do you? What is love? You think you have everything, but you don't have anything. You have to have hope and spirit. Be an optimist. But can you handle all your human behavior or other's behavior? You don't want to be good, but great. - Director's Note, The Room (2001), by Tommy P. Wiseau — Greg Sestero

In the love scene's final shot, Johnny gets out of bed and walks bare-assed to the bathroom. Tommy thought long and hard about his decision to show his ass. "I need to do it," he told me. "I have to show my ass or this movie won't sell. — Greg Sestero

I was a tall, sandy-blond Northern California kid. Tommy, meanwhile, appeared to have been grown somewhere dark and moist. — Greg Sestero

Moments after the waitress left us, Tommy whipped out both copies of our chosen play and handed me mine. "All right," he said. "Now we do scene." "Wait," I said. "Now?" Tommy was unperturbed. "So what? Yes. We do it now." I looked around. All the tables around us were full. "Shouldn't we eat first?" "What? Are you not dedicated actor? Rehearsal is very important." Tommy was already demonstrating a lot of promise in knowing how to embarrass the shit out of me. — Greg Sestero

We argue, as you know. I don't think she like me, but so what. I say how I feel. Feelings. That's all we have as human beings.' - Tommy — Greg Sestero

Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn't until the last weekend of the film's short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: "Watching this film is like getting stabbed in the head." They were sold. — Greg Sestero

Dan had some questions about Chris-R. We all did. Why the name "Chris-R," for instance? What's with that hyphen? Tommy's explanation: "He is gangster." What about this drug business, which never comes up either before or after Chris-R's only scene in the film? "We have big problem in society with the drugs. — Greg Sestero

How you get from an unanticipated football hand-off to potential hospitalization, I have no idea. — Greg Sestero

Tommy showed me around, starting with the photos on the walls, many of which were of himself, including a few grand, framed neoclassical portraits he'd had done. — Greg Sestero

You have built a human relationship on the foundation of asbestos. — Greg Sestero

Mark responds to Peter's accusation with an uncharacteristically abrupt burst of anger and tries to throw Peter off the roof. Then Mark immediately apologizes to Peter for trying to kill him, and Peter lets it slide. It's probably the most swiftly forgiven attempted murder in the history of film. — Greg Sestero

The only casting directors who'd be willing to call Tommy in on the basis of this headshot were the ones curious about what it was like to be murdered. — Greg Sestero

But performing in The Room was, by this point, like drinking the very last dregs of something through a ting straw: It took a lot of effort and you barely tasted it. — Greg Sestero

Even today, a decade later, I still can't unsee Tommy's outfit: nighttime sunglasses, a dark blazer as loose and baggy as rain gear, sand-colored cargo pants with pockets filled to capacity (was he smuggling potatoes?), a white tank top, clunky Frankenstein combat boots, and two belts. Yes, two belts. The first belt was at home in its loops; the second draped down in back to cup Tommy's backside, which was, he always claimed, the point: "It keeps my ass up. Plus it feels good. — Greg Sestero

For reasons neither I nor anyone else could gather, every time I got to the part in Mark's story about the woman being beaten up, Tommy would laugh warmly before delivering his line. It was unsettling. It was disturbing. Take after take, Tommy/Johnny would react to the story of this imaginary woman's hospitalization with fond and accepting laughter. — Greg Sestero