Greg Sestero Quotes

Being in an acting class, you always feel like, you know, you’re insecure, a lot of ways, when the teacher is commenting on your performance.

I learned with ‘The Disaster Artist,’ when I was writing the book, the audience will follow you if you really try to do something different. The biggest thing is, you want to be genuine and try to surprise your audience with kind of a new direction.

I think sometimes we start out wanting to do things that maybe we’re not cut out for.

The Room’ has just been something that has spread for so many years in such an organic way because, it’s just people wanting to share it with their friends and take people to the theater to see it.

‘The Disaster Artist’ book is the peak of my career in many ways, but there’s something so rewarding about creating something from scratch.

Making a film is a very difficult thing to do, but the experience of ‘Best F(r)iends’ is a great memory.

You can’t really ever recreate ‘The Room.’

I think when you make a genre or horror movie, you need a budget. When you skimp on blood and special effects and all that, it automatically looks cheesy. But a movie like ‘The Room’ is psychologically bad, which goes a lot deeper than just technically bad.

‘The Room’ has never interested me as a film. The reaction interested me.

When you make a film, you never quite know what you’re getting into.

I think there’s something redeeming about trying to follow your passion.

The only reason I came to L.A. in the first place was to tell stories and make movies. Whatever way you can do that – if you can do that – at whatever level, that’s rewarding.

I’ve just come to try to see the positive in everything. Despite people saying ‘The Room’ is the worst movie or whatever, it’s brought about a lot of great things.

A lot of times, we think we’re set out to do one thing, but then you realise that’s maybe not what’s best for you. So I’ve just learned to accept and embrace.

I can’t take ‘The Room’ and show it to an agent and say, ‘Hey man, cast me in something.’ It’s an alien film.

I would never try to recreate something ‘bad’ on purpose.

I think the best bad movies are not really genre movies like, let’s say, ‘Troll 2,’ because those are easy to mess up.

I like the legend behind him. James Dean symbolizes the young actor’s dream. He struggled to get into Hollywood. He shot to fame at the age of 24 but only got to star in three films. It’s kind of a fantasy of what could have been.

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.

I think my initial view of it is that ‘The Room’ has succeeded in being the best bad movie because it’s the most earnest. I feel like it’s a film that comes from the heart, and somebody’s really trying to send a message about their life and their view on the human experience.

We all deal with change differently.

There are millions of people around the world that want to be artists and want to make stuff to entertain people, but nobody cares.

I still think that, uh, the original draft from ‘The Room’ was brilliant in its own way. It made me laugh, which is – which is a good thing. It got a reaction.

French was my first language.

It’s a weird business, whether you’re trying to write or act or do music. You’re put in these situations you’re not prepared for.

I think, reading about yourself through somebody else’s eyes, you’re always going to have your own story.

James Franco, Seth Rogen, and Evan Goldberg are the ideal guys to adapt ‘The Disaster Artist.’

I didn’t know there was a thing for bad movies until ‘The Room,’ but there is. There’s just a fascination.

I saw an early cut of ‘The Disaster Artist,’ and I thought it was inspiring in a lot of ways, and it made me realize it had been so long since I had tried to make a film or to try to – you know, the book was obviously my first kind of big creative pursuit I had control over.

I haven’t seen any of those films that are considered to be the best bad movies. I didn’t know there was really a market for them until ‘The Room.’

After ‘The Room’ premiered in 2003 – which went exactly as it does in ‘The Disaster Artist’ – I didn’t think it was going to go anywhere. It wasn’t a film I wanted to share with people.

When people show up to your work and enjoy it for years, like the way they have ‘The Room,’ what do you say to that? You accept it and think it’s pretty cool.

‘The Room’ came out in 2003, really to crickets. Nobody showed up to see it. It made $1800 at the box office. Everyone assumed it was going to disappear.