The simplistic approach starts with the relationship between Wiseau and his friend/actor/line-producer Greg Sestero, a hollow center for this story. Wiseau (James Franco) is a shadowy man of ambiguous older age and accent origin, with a bombastic presence in acting classes (in one bit, he just repeats “Stella!” a la Marlon Brando but with none of the context). He’s discovered, or rather noticed, by a real-life reflection of what Wiseau is not: an all-American, conventionally handsome rising actor named Greg (Dave Franco). They are united by their common desire to become famous actors and they eventually move to Los Angeles, where Greg is more successful in getting auditions than Tommy.
Played from its opening whimsical guitar score as a sweet story about friends, the dynamic of a real-life, Apatow-brand bromance is prominent, and makes for a few funny bonding moments, like when Tommy has Greg loudly rehearse a scene in a restaurant as a ridiculous gesture of fearlessness. But it thins out as the story goes along, especially as Greg appears so obedient, and unquestioning to the eccentric Tommy, only to break that type of friendship focus when he meets Amber (Alison Brie). Their friendship has a crucial lack of stakes, despite its unique nature, and the legendary film project that eventually comes between them.
And then, “the masterpiece.” In an effort to be noticed in Hollywood, Tommy decides to make his own movie (which he compares to the likes of Tennessee Williams), and disregards his complete inexperience as a film director. He buys cameras instead of renting them, creates a set of an alley way instead of just shooting in an alley, films on both 35mm and HD at the same time, and that’s before they even start actual production. Greg goes along with it, smiling through the process, and Tommy becomes a clueless clown to a crew that are, in the movie’s comedic context, all his straight men.
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