Greg Sestero Quotes

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.

You can't really ever recreate 'The Room.'

I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world

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.

We have many Lisas, Marks, Dennys, Johnnys, and other characters from 'The Room' in America and in the entire world.

I can't stress it enough that we genuinely love 'The Room.' Like I said, I've seen it more than any other movie that's ever been made, and it gets to a point where if a movie is that watchable, when can we just call it a good movie?

In a way, you just can't predict a perfect movie for 'MST3K.'

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.

The Irish crowd and the humour, they really get it. Them riffing with 'The Room' makes the film watchable for me.

Along with 'Wet Hot American Summer' and 'The Room,' 'Lebowski' belongs in the canon of nouveau cult classics.

I really like 'Disaster Artist.'

A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.

Every great film should seem new every time you see it.

I like the George Romero films, which were really great, social satire movies; really twisted.

I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life.

It is such a social thing, laughing. Two thousand people in a room laughing is such a great buzz and they tend to laugh much more in a group.

I did sing in another film called 'Empire Records' which is a cult film. 'Grease 2' is also a cult film. You either love it or just think the original was better.

I always say that you don't have to like 'The Room', but you will discover something - maybe a tiny little thing - and say, 'Wait a minute, maybe I want to see more.'

As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.

'Wet Hot American Summer' was sort of lowbrow genius, you know? But smart in its cultish silliness. It wasn't considered something of great cultural caliber. But like many cult pieces, it sort of became something culturally relevant, which I think is what's so wonderful about it.

'Clue' was a big flop when it came out, but it became a... It's a movie that almost everyone references with me, now, when I run into people.

Usually, the worst films become cult films.

It's a contract of connection to be in the same space and watch and listen to stories and be caught in them. When you're in a theater, your brain expands because somebody in the theater may do something or respond to something that you wouldn't have.

I loved 'Moonlight.' I thought it was really beautiful. Really great.

I swear to God, that movie comes up more in my life than any other movie. Someone says 'Bowfinger' once every month or two to me. And how many years ago did that come out?