The trailer begins with Wiseau and Greg Sestero (portrayed by Dave Franco) bonding over their dream to make it in Hollywood.
“We’ll be famous; we’ll show them,” they say.
There are several scenes of Franco yelling “Stella!”; he also attempts to impress the real-life Judd Apatow with a recitation of Hamlet’s “To be, or not to be” soliloquy in a restaurant, prompting Apatow to say, “It’s not going to happen for you, not in a million years.”
“What about after that?” Franco responds.
Franco’s Wiseau then sets about making The Room, which he asserts is a story about an all-American hero named Johnny. “Also, maybe Johnny is vampire, we’ll see,” he adds.
James Franco in 'The Disaster Artist' (Photo: Screenshot/YouTube)
The footage includes a love triangle, a nude scene with Wiseau asserting, “I need to show my ass to sell this movie,” and a death scene in which Wiseau pretends to blow his brains out and then rolls around in agony.
A24 is partnered with New Line Cinema on the movie, which will hit theaters on Dec. 1 for exclusive engagements in the U.S., followed by a nationwide release on Dec. 8.
Disaster Artist screened in March as a work in progress at South by Southwest, where it received a standing ovation. Critics were impressed with Franco’s performance in the film about the making of Wiseau’s so-bad-that-it’s-good film.
Variety‘s Peter Debruge wrote in his review: “Like such kindred spirits in quantity over quality as Tyler Perry and Joe Swanberg, James Franco has made a crapload of movies. Sooner or later, he was bound to deliver a good one.”
Franco directed The Disaster Artist from a screenplay by Scott Neustadter and Michael H. Weber, based on the book by Greg Sestero and Tom Bissell. The ensemble also features Seth Rogen, Alison Brie, Zac Efron, Josh Hutcherson, Jacki Weaver, Ari Graynor, and Jason Mantzoukas.
'The Disaster Artist': Watch the previously released teaser:
Read more from Variety:
- SXSW film review: 'The Disaster Artist'
- Is James Franco's 'The Disaster Artist' already an Oscar contender?
- Wim Wenders' 'Submergence': Toronto film review