Racicot v. Wiseau Studio CA2/3

CourtCalifornia Court of Appeal
DecidedApril 30, 2025
DocketB334219
StatusUnpublished

This text of Racicot v. Wiseau Studio CA2/3 (Racicot v. Wiseau Studio CA2/3) is published on Counsel Stack Legal Research, covering California Court of Appeal primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Racicot v. Wiseau Studio CA2/3, (Cal. Ct. App. 2025).

Opinion

Filed 4/30/25 Racicot v. Wiseau Studio CA2/3 NOT TO BE PUBLISHED IN THE OFFICIAL REPORTS California Rules of Court, rule 8.1115(a), prohibits courts and parties from citing or relying on opinions not certified for publication or ordered published, except as specified by rule 8.1115(b). This opinion has not been certified for publication or ordered published for purposes of rule 8.1115.

IN THE COURT OF APPEAL OF THE STATE OF CALIFORNIA

SECOND APPELLATE DISTRICT

DIVISION THREE

MARTIN RACICOT et al., B334219

Plaintiffs and Respondents, Los Angeles County Super. Ct. No. 21STCP03990 v.

WISEAU STUDIO, LLC, et al.,

Defendants and Appellants.

APPEAL from a judgment of the Superior Court of Los Angeles County, Elaine Lu, Judge. Affirmed.

Tesser | Grossman, Brian M. Grossman and Alec Pierce Schulman for Defendants and Appellants.

Goode Hemme and Jerry D. Hemme for Plaintiffs and Respondents. _________________________ Wiseau Studio, LLC and Tommy Wiseau dba Wiseau-Films (collectively, appellants) appeal from the trial court’s judgment of $1,089,010.16 entered in favor of Room Full of Spoons Inc., Richard Harper, Fernando Forero McGrath, Martin Racicot dba Rockhaven Pictures, Parktown Studios Inc., and Richard Stewart Towns (collectively, respondents). Respondents petitioned the Los Angeles Superior Court to recognize a Canadian judgment they had obtained against appellants. The trial court granted the petition and recognized the judgment under the Uniform Foreign-Country Money Judgments Recognition Act (UFCA), adopted by California under Code of Civil Procedure section 1713 et seq. (the Act).1 Defendants contend the court erred in recognizing the judgment under the Act because (1) the judgment effectively was a penalty precluding the Act’s application, and (2) the proceedings in the Canadian court were “incompatible with due process.” We affirm. BACKGROUND2 In June 2003, appellants released the feature film The Room. Although a box office flop,3 the film developed a cult-like following. The film is screened monthly at “theatres all over the world.” Wiseau, who wrote, produced, directed,

1 Undesignated statutory references are to the Code of Civil Procedure. 2 We take the underlying facts of the case from the Canadian court’s written “Reasons for Judgment” and other written rulings it references. 3 Critics described the film as “ ‘not just bad—it’s intoxicatingly awful,’ ” the “ ‘Citizen Kane of bad movies,’ ” and a “ ‘99 minute train wreck.’ ”

2 and starred in The Room, often attends these screenings and has become “somewhat of a celebrity.” In 2011, Wiseau’s co-star in The Room and friend, Greg Sestero, wrote a nonfiction book about the making of The Room called The Disaster Artist—My Life Inside The Room, The Greatest Bad Movie Ever Made. A film adaptation of the book —The Disaster Artist—was released in 2017 to broad critical acclaim. Wiseau gave interviews, access to the original script of The Room, and behind the scenes photographs and footage to the author. He also entered into licensing agreements with the filmmakers for use of footage from The Room and appeared in The Disaster Artist. Also in 2011, Harper and his friends McGrath and Racicot sponsored a screening of The Room in Ottawa, Canada that included an appearance by Wiseau for a $1,500 fee. Harper and his friends “hit it off” with Wiseau. After spending time with Wiseau in Ottawa and Toronto, “and with Wiseau’s encouragement,” they decided to make a documentary about The Room and its fans. A couple of months later, however, Wiseau no longer wanted to participate in the documentary. Respondents worked on the documentary, called Room Full of Spoons, until early 2016. In addition to interviewing actors and fans, respondents “investigated Wiseau’s background,” including by interviewing Wiseau’s family in Poland. To finance the film, respondents invested personal funds and raised money through Kickstarter, a crowdfunding website. In March 2014, while making the documentary, Harper and McGrath attended Sestero’s book signing event at a bookstore in Toronto. Wiseau was there. All four met later that evening for dinner. Wiseau asked about the documentary

3 and said “he was not against it and hoped it would succeed.” However, a year later—in March 2015—Wiseau began to express disapproval of the documentary. He demanded respondents stop using footage from The Room in the documentary and remove all references to him from the Kickstarter campaign. Harper proposed to Wiseau that they negotiate a license agreement. In addition to significant payment for each clip of The Room used in the documentary, Wiseau’s proposed agreement gave Wiseau final approval of the documentary and required it to focus on the fans rather than on The Room or Wiseau. Harper told Wiseau respondents would allow him to view the film before any public release, but they would not agree “to give up ‘Final-Cut Privileges’ to him.” In response, from April 2015 until February 2016, Wiseau attacked the documentary through a YouTube web-series. Wiseau continued to demand payment for the use of clips from The Room and— asserting copyright and trademark infringements—demanded respondents not use his name and change their promotional posters. Respondents completed the documentary in January 2016. Seven minutes of the 109-minute Room Full of Spoons are clips from The Room. The documentary tells Harper’s story of his interest in The Room and in Wiseau, describes how The Room was made and reactions to it, and addresses questions about how Wiseau funded The Room and his secretive background, including where he was born and his age—questions raised in The Disaster Artist. On February 23, 2016, respondents gave Wiseau a “ ‘courtesy copy’ ” of the documentary. Wiseau objected to references to his original name and birthdate, the time the

4 film devoted to his family in Poland, references to a California civil action against him for fraud, and reference to claims by The Room’s script supervisor that he actually directed 90 percent of the film. He also complained the documentary was “ ‘too negative’ ” and noted there were more than 65 clips from The Room and Wiseau-Films original material. Respondents rejected Wiseau’s objections and took the position the clips were “ ‘covered under fair use.’ ” In 2016 and early 2017, Room Full of Spoons was screened at 10 film festivals in Europe and North America. The screenings received positive attention. Wiseau emailed exhibitors and potential exhibitors of the film, alleging copyright infringement and illegal downloading of The Room, demanding the documentary not be shown, and his image and references to The Room not be used in promoting the documentary. As a result, a planned tour of 25 North American cities, and screenings scheduled in Australia, Poland, and the United Kingdom in 2016 and 2017 were canceled. In 2017, respondents were in discussions with an independent film distributor in California, Gravitas Ventures, LLC (Gravitas). Gravitas had offered respondents a draft distribution agreement for a 15-year term covering the United States and Canada. Gravitas was excited about the prospect of releasing the documentary at around the same time as the release of The Disaster Artist in late 2017. On June 14, 2017, however, appellants filed a lawsuit against respondents in Toronto and moved ex parte for an injunction to prevent the release of Room Full of Spoons. Respondents were given inadequate notice and could not appear at the hearing. Justice Diamond of the Canadian court granted

5 an interim injunction and set a return date for June 23, 2017, to determine whether the injunction should be extended through trial. On June 23, at respondents’ request, Justice Akbarali continued the hearing—and the injunction—to October 10, 2017, to allow respondents to retain counsel and gather evidence.

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Racicot v. Wiseau Studio CA2/3, Counsel Stack Legal Research, https://law.counselstack.com/opinion/racicot-v-wiseau-studio-ca23-calctapp-2025.