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Deleted line(s) 24 (click to see context) :
*** Just his Polish accent slipping through his other accents. Yes, that's how Polish people pronounce "a", but without the "dramatic" heft.
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*** Tommy Wiseau himself admitted that this line was [[ActuallyPrettyFunny Actually Pretty Funny.]]
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*** Tommy Wiseau himself admitted that this line was [[ActuallyPrettyFunny Actually Pretty Funny.]]ActuallyPrettyFunny.
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Changed line(s) 181 (click to see context) from:
** Greg can also be seen [[Corpsing smiling]] as Tommy says this.
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** Greg can also be seen [[Corpsing [[{{Corpsing}} smiling]] as Tommy says this.
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Changed line(s) 19 (click to see context) from:
-->'''Johnny:''' I did naht hit her, it's naht true, it's ''bowlschit'', I did naht hit her -- I did ''[[ChewingTheScenery naaaaaaht]]''. (limply tosses water bottle to the ground, notices Mark) [[MoodWhiplash Oh hai, Mark]].
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-->'''Johnny:''' I did naht hit her, it's naht true, it's ''bowlschit'', I did naht hit her -- I did ''[[ChewingTheScenery naaaaaaht]]''.naaaaaahhhtt]]''. (limply tosses water bottle to the ground, notices Mark) [[MoodWhiplash Oh hai, Mark]].
Changed line(s) 35 (click to see context) from:
*** According to ''[[Literature/TheDisasterArtist The Disaster Artist,]]'' it was originally written in the script as "You're ''taking'' me apart, Lisa!"
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*** According to ''[[Literature/TheDisasterArtist The Disaster Artist,]]'' it was originally written in the script as "You're ''taking'' me apart, Lisa!"Lisa!" before Greg Sestero had him change it.
Changed line(s) 117 (click to see context) from:
* "Hahaha. What a story, Mark." Hilarious for two reasons: first, the [[HongKongDub terrible dubbing]], and second, because the hilarious story is Mark's account of [[DissonantLaughter a woman he knew who was brutally beaten to the point of hospitalization by one of her lovers]], which [[CrossesTheLineTwice brings it right back over the line]].
to:
* "Hahaha. What a story, Mark." Hilarious for two reasons: first, the [[HongKongDub terrible dubbing]], and second, because the hilarious story is Mark's account of [[DissonantLaughter a woman he knew who was brutally beaten to the point of hospitalization by one of her many lovers]], which [[CrossesTheLineTwice brings it right back over the line]].
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** Greg can also be seen [[Corpsing smiling]] as Tommy says this.
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Changed line(s) 141,143 (click to see context) from:
** '''''[[IncomingHam "HaaaaaaaaaaRRRRRRAAAAAAAAAAGGGGGGGGGHHHHHHHH!!!]]''''' WHYYYYY, LISA? WHY?! '''[[BigWhy WHY?!"]]'''
** Johnny executes the most hilarious {{Anger Montage}}s in cinematic history. He can't help but looking totally bored. Many of his lines are completely unintelligible ("Bluddaholewurld!"). He nonchalantly pulls out the drawers, feebly knocks the plastic fruits off the dish, and casually tosses a CRT TV out the window without even disguising that it's clearly a hollowed-out prop. The scene's best bit is the serendipitous cinematography, when Johnny knocks down a picture and it falls over on the camera.
** Special mention goes to Johnny's half-hearted [[ColdHam "nyaaaaaggghhh!"]] as he swipes portraits and decor off his mantle.
** Johnny executes the most hilarious {{Anger Montage}}s in cinematic history. He can't help but looking totally bored. Many of his lines are completely unintelligible ("Bluddaholewurld!"). He nonchalantly pulls out the drawers, feebly knocks the plastic fruits off the dish, and casually tosses a CRT TV out the window without even disguising that it's clearly a hollowed-out prop. The scene's best bit is the serendipitous cinematography, when Johnny knocks down a picture and it falls over on the camera.
** Special mention goes to Johnny's half-hearted [[ColdHam "nyaaaaaggghhh!"]] as he swipes portraits and decor off his mantle.
to:
** '''''[[IncomingHam "HaaaaaaaaaaRRRRRRAAAAAAAAAAGGGGGGGGGHHHHHHHH!!!]]''''' "HaaaaaaaaaaaaaaaaRRRRRRRRRRRRAAAAAAAAAAAAAAAAAGGGGGGGGGHHHHHHHH!!!]]''''' WHYYYYY, LISA? WHY?! '''[[BigWhy WHY?!"]]'''
** Johnny executes the most hilarious {{Anger Montage}}s in cinematic history. He can't help but looking totally bored. Many of his lines are completely unintelligible("Bluddaholewurld!").("You bitch", "Bluddaholewurld!"). He nonchalantly pulls out the drawers, feebly knocks the plastic fruits off the dish, and casually tosses a CRT TV out the window without even disguising that it's clearly a hollowed-out prop. The scene's best bit is the serendipitous cinematography, when Johnny knocks down a picture three pictures off the fireplace and it one of them falls over on top of the camera.
** Special mention goes to Johnny's half-hearted [[ColdHam"nyaaaaaggghhh!"]] "nyaaaaaaagggggghhh!"]] as he swipes portraits and decor off his mantle.
** Johnny executes the most hilarious {{Anger Montage}}s in cinematic history. He can't help but looking totally bored. Many of his lines are completely unintelligible
** Special mention goes to Johnny's half-hearted [[ColdHam
Changed line(s) 150,151 (click to see context) from:
** [[spoiler:[[AcCentUponTheWrongSylLABle "Gahd... Fuggive muh..."]] '''[[AteHisGun BANG!]]''']]\\
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** [[spoiler:[[AcCentUponTheWrongSylLABle "Gahd... Fuggive muh..."]] '''[[AteHisGun BANG!]]''']]\\
BANG!]]''']]
Changed line(s) 169 (click to see context) from:
** The next morning, Johnny gets out of bed, completely naked, but mercifully covers his crotch with a sheet. That doesn't mean we're safe from seeing him [[FanDisservice proudly display his bare ass, though.]]
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** The next morning, Johnny gets out of bed, completely naked, but mercifully covers his crotch with a sheet. That doesn't mean we're safe from seeing him [[FanDisservice proudly display his bare ass, ass for all of us to see, though.]]
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Changed line(s) 33 (click to see context) from:
** Say it with us now: "You're lying! I never hit you... '''[[{{Narm}} YOU'RE]]''' '''[[LargeHam TEARING]]''' '''[[MilkingTheGiantCow ME]]''' '''''[[ChewingTheScenery APART,]]''''' '''[[MemeticMutation LISA!!!"]]'''
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** Say it with us now: "You're lying! I never hit you... '''[[{{Narm}} YOU'RE]]''' YOU ARE]]''' '''[[LargeHam TEARING]]''' '''[[MilkingTheGiantCow ME]]''' '''''[[ChewingTheScenery APART,]]''''' '''[[MemeticMutation LISA!!!"]]'''
Changed line(s) 50 (click to see context) from:
** When Johnny finally confronts Mark about the affair, he's met with this LameComeback: "You don't know ''[[ObligatorySwearing shit]]'', all right?"
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** When Johnny finally confronts Mark about the affair, he's met with this LameComeback: "You don't know ''[[ObligatorySwearing shit]]'', ''shit'', all right?"
Changed line(s) 52 (click to see context) from:
* The whole breast cancer thing. Claudette says, in no uncertain terms, "I got the results of the test back. I ''definitely'' have breast cancer." Lisa's only response is, "[[AngstWhatAngst Don't worry about it!]]", and no one ever mentions it again.
to:
* The whole breast cancer thing. Claudette says, in no uncertain terms, "I got the results of the test back. I ''definitely'' have breast cancer." Lisa's only response is, "[[AngstWhatAngst Don't worry about it!]]", it, everything will be fine!]]", and no one ever mentions it again.
Changed line(s) 65 (click to see context) from:
:This exchange is so bizarre that the viewers are split. One school of thought is that Claudette is such a conniving bitch that [[ComicallyMissingThePoint she doesn't care about domestic violence]]. The other is that [[AlternativeCharacterInterpretation Claudette is teaching Lisa how to be a conniving bitch]] and telling her that her lie [[BadLiar doesn't hold water]]. Either way, both Claudette and Lisa seem totally disengaged from the film's plot.:
to:
:This exchange is so bizarre that the viewers are split. One school of thought is that Claudette is such a conniving bitch that [[ComicallyMissingThePoint she doesn't care about domestic violence]]. The other is that [[AlternativeCharacterInterpretation Claudette is teaching Lisa how to be a conniving bitch]] and telling her that her lie [[BadLiar doesn't hold any water]]. Either way, both Claudette and Lisa seem totally disengaged from the film's plot.:
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Changed line(s) 144 (click to see context) from:
** Johnny attempts to make, [[MundaneMadeAwesome of all things,]] quietly pulling sheets off his bed and tossing them to the floor look intense as dramatic music blasts over the act. He then flops down on the mattress for a brief moment, appearing as if he's about to make a snow angel before getting up again to throw a shoe at a mirror.
to:
** Johnny attempts to make, [[MundaneMadeAwesome of all things,]] things]], quietly pulling sheets off his bed and tossing them to the floor look intense as dramatic music blasts over the act. He then flops down on the mattress for a brief moment, appearing as if he's about to make a snow angel before getting up again to throw a shoe at a mirror.
Changed line(s) 153 (click to see context) from:
--->'''Mark:''' [[spoiler:Wake up, Johnny! Wake up!]]\\
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--->'''Mark:''' [[spoiler:Wake up, [[spoiler:[[PleaseWakeUp Wake up]], Johnny! Wake up!]]\\
Changed line(s) 181 (click to see context) from:
-->'''Johnny:''' It seems to me like you're the ''EXpert'', Mark!
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-->'''Johnny:''' It seems to me like you're the ''EXpert'', ''[=EXpert=]'', Mark!
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Changed line(s) 13 (click to see context) from:
* The flower shop scene is hilariously broken. To quote a YouTube comment, "it's trying to portray a completely ordinary, everyday scenario, and yet it somehow manages to get literally everything completely wrong." For ''several'' reasons:
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* The flower shop scene is hilariously broken. To quote a YouTube Website/YouTube comment, "it's trying to portray a completely ordinary, everyday scenario, and yet it somehow manages to get literally everything completely wrong." For ''several'' reasons:
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Changed line(s) 13 (click to see context) from:
* The flower shop scene is hilariously broken, for several reasons:
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* The flower shop scene is hilariously broken, broken. To quote a YouTube comment, "it's trying to portray a completely ordinary, everyday scenario, and yet it somehow manages to get literally everything completely wrong." For ''several'' reasons:
** Tommy enters the scene by parking his car and then inching it a few centimeters closer forseveral reasons:no apparent reason. At the end of the scene, he grabs the flowers upside down and keeps carrying them that way when returning to his car. As the cherry on top, he's parked in the red "no parking" section.
** Tommy enters the scene by parking his car and then inching it a few centimeters closer for
Deleted line(s) 16 (click to see context) :
** Tommy enters the scene by parking his car and then inching it a few centimeters closer for no apparent reason. At the end of the scene, he grabs the flowers upside down and keeps carrying them that way when returning to his car.
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Changed line(s) 14,15 (click to see context) from:
** Everyone seems to be rushing through the dialogue. It might be because the flower shop lady seems to be a line behind in the script. It's most obvious when Johnny goes, "That's me!", right after she tells him, "Oh, I didn't know it was you." This without getting into the implausibility of her not recognizing ''Johnny''.
** The dog sitting on the counter, greeted at the end by Johnny's nonchalant "Hai doggy!" -- slotted in breathlessly after he tells the flower shop lady to keep the change. The dog even looks a little like the flower shop lady. ''Literature/TheDisasterArtist'' adds the subtext that the dog was just part of the scene, sitting there motionless, and totally unnerving Tommy Wiseau -- which makes "Hai doggy!" even more hilarious.
** The dog sitting on the counter, greeted at the end by Johnny's nonchalant "Hai doggy!" -- slotted in breathlessly after he tells the flower shop lady to keep the change. The dog even looks a little like the flower shop lady. ''Literature/TheDisasterArtist'' adds the subtext that the dog was just part of the scene, sitting there motionless, and totally unnerving Tommy Wiseau -- which makes "Hai doggy!" even more hilarious.
to:
** Everyone seems The pacing is bizarrely disjointed, with Tommy pausing for several seconds before responding to be rushing through the dialogue. It might be because the flower shop lady seems to be a line behind in the script. It's most obvious when Johnny goes, "That's me!", right after she tells him, "Oh, I didn't know it was you." you," by which point the flower shop lady is a line ahead of him in the script. Immediately afterwards, the two rush through the rest of the scene, altogether giving the impression that the movie somehow hit a lag spike. This without getting into the implausibility of her not recognizing ''Johnny''.
** The dog sitting on the counter, greeted at the end by Johnny's nonchalant "Hai doggy!" -- slotted in breathlessly after he tells the flower shop lady to keep the change. The dog even looks a little like the flower shop lady. ''Literature/TheDisasterArtist'' adds the subtext that the dog was just part of the scene, sitting there motionless, and totally unnerving Tommy Wiseau -- which makes "Hai doggy!" even morehilarious. hilarious.
** Tommy enters the scene by parking his car and then inching it a few centimeters closer for no apparent reason. At the end of the scene, he grabs the flowers upside down and keeps carrying them that way when returning to his car.
** The dog sitting on the counter, greeted at the end by Johnny's nonchalant "Hai doggy!" -- slotted in breathlessly after he tells the flower shop lady to keep the change. The dog even looks a little like the flower shop lady. ''Literature/TheDisasterArtist'' adds the subtext that the dog was just part of the scene, sitting there motionless, and totally unnerving Tommy Wiseau -- which makes "Hai doggy!" even more
** Tommy enters the scene by parking his car and then inching it a few centimeters closer for no apparent reason. At the end of the scene, he grabs the flowers upside down and keeps carrying them that way when returning to his car.
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Changed line(s) 8,9 (click to see context) from:
Ah, ''Film/TheRoom''. One of the most hilariously inept movies of all time. Is it any surprise it has its share of ([[{{Narm}} unintentionally]]) funny moments?
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Ah, ''Film/TheRoom''.''Film/{{The Room|2003}}''. One of the most hilariously inept movies of all time. Is it any surprise it has its share of ([[{{Narm}} unintentionally]]) funny moments?
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moved page from Funny.The Room
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Changed line(s) 97 (click to see context) from:
** When Johnny and Peter are discussing that Johnny should talk to Lisa about her infidelity, and how people can't see their own faults, Mark ''randomly'' butts in, saying "Hey, I'm thinkin' about movin' to a bigger place, man. I'm makin' some good money." in a stereotypical jock voice.
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** When Johnny and Peter are discussing that Johnny should talk to Lisa about her infidelity, and how people can't see their own faults, Mark ''randomly'' randomly butts in, saying [[NonSequitur "Hey, I'm thinkin' about movin' to a bigger place, man. I'm makin' some good money." "]] in a stereotypical jock voice.
Changed line(s) 99 (click to see context) from:
** The way Johnny and Mark talk about Bay to Breakers makes them sound like two aliens trying to imitate casual "guy talk:"
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** The way Johnny and Mark talk about Bay to Breakers makes them sound like two aliens trying to imitate casual "guy talk:"talk":
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Added DiffLines:
** Special mention goes to Johnny's half-hearted [[ColdHam "nyaaaaaggghhh!"]] as he swipes portraits and decor off his mantle.
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Changed line(s) 113 (click to see context) from:
-->'''Peter:''' [[CasualDangerDialogue What are you, nuts?!]] ''[[CasualDangerDialogue God!]]''
to:
-->'''Peter:''' [[CasualDangerDialogue [[DangerDeadpan What are you, nuts?!]] ''[[CasualDangerDialogue ''[[DangerDeadpan God!]]''
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Changed line(s) 113,114 (click to see context) from:
-->'''Peter:''' [[CausalDangerDialogue What are you, nuts?!]] ''[[CasualDangerDialogue God!]]''
*** When Peter breaks free from Mark's grip, there is a ''long'' pause, then Mark responds with a plain old ''"sorry."''
*** When Peter breaks free from Mark's grip, there is a ''long'' pause, then Mark responds with a plain old ''"sorry."''
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-->'''Peter:''' [[CausalDangerDialogue [[CasualDangerDialogue What are you, nuts?!]] ''[[CasualDangerDialogue God!]]''
*** ** When Peter breaks free from Mark's grip, there is a ''long'' pause, then Mark responds with a plain old ''"sorry."''