Of course, as a movie set in San Francisco (although primarily shot in Los Angeles), The Room must open with a scene of the Golden Gate Bridge, in this case as seen from Marin County.

Cineastes should pay close attention to this seemingly pedestrian establishing shot, as it’s essentially the last time any decision about the making of the subsequent film makes any sense.

If asked which building in San Francisco Tommy Wiseau still owns, most people would probably guess it’s the one that has his giant face plastered on the facade. And they’d be right, although the name on the deed is simply “Euro Properties LLC,” an identity as vague and unplaceable as Wiseau’s very own.

Back in 2002/2003, the current Pizza Zone site was a coffee house, where Wiseau and costar Greg Sestero filmed the baffling, “How’s your sex life?” scene.

The giant poster out front is the same image used on the original, infamous LA billboard advertising The Room’s first theatrical run. Wiseau refers to this shot of himself as “Evil Man.”

Every Room fan remembers the unexplained scene in which the male characters play football in an alley while wearing tuxedos for no explicable reason.

For some reason Wiseau felt the need to try to top that, as the San Francisco scenes feature yet another football game, in which he and Sestero frolic through Golden Gate Park, running side by side while tossing a football back and forth from a distance of all of five feet. Baffling, bizarre, beautiful.

The physical room in which much of The Room takes place was shot inside a Los Angeles studio. But the establishing shots show a grand brick-red Marina home that Wiseau liked the look of from curbside.

(Note that this address is approximate, and whoever actually lives here probably doesn’t want Room fans popping up at their front door.)

The infamous rooftop scenes were also shot in LA, with a green screen of the SF skyline to create the illusion of shooting on location in the Marina. However, the illusion is ruined by the fact that, in reality, bay winds should be blasting the actors in the face. Alas, their hairdos are as immobile as Wiseau’s performance.

A cable car is a necessity for any establishing San Francisco montage.

However, the notable thing about this scene is that having to time the shot to capture Wiseau taking his seat as the car rumbles by—his first appearance in the film—must have made this otherwise easy B-roll footage much harder to shoot. For all of the trouble, it adds nothing to the movie.

Taking a single, blurred, shadowy image of Wiseau’s face (hidden behind sunglasses) in passing isn’t the best use of the quintessential San Francisco imagery, but there it is. Note the appearance of Grace Cathedral in the background.

Today it’s called Sofia Cafe, but 15 years ago this was the site of Anniversary Flowers. It’s also the locale one of the most fundamentally terrible scene in cinematic history.

Precisely what happened that day to ensure that everything in this scene would be bad in the worst way possible remains a mystery. At the very least, it’s fair to say it wasn’t the flower shop’s fault.

While it’s disappointing to have lost the opportunity to buy a dozen red roses here, the last thing a struggling San Francisco florist needs is the weekly appearance of Tommy Wiseau impersonators looking for dogs to pat.