Commercially speaking, this probably doesn't matter: The Disaster Artist's target audience are people who have already semi-memorized The Room and who will appreciate Franco's
studious recreations of scenes from the film, as well as the lengthy clip reel coda that plays his recreated scenes side - by - side with the originals to further demonstrate their studiousness.
It even has a couple of Haynes-esque aesthetic devices; it's shot on grainy, anachronistic Super 16 mm and is partly structured around
a studious recreation of the black - and - white 1962 TV special A Tour Of The White House.