John Waters: ‘I’m like a weird gay version of my… | Little White Lies

Interviews

John Waters: I’m like a weird gay ver­sion of my father’

16 Feb 2017

Words by David Jenkins

Stylised illustration of a protest scene, featuring a crowd of anonymous figures in shades of blue, pink, and black. A central figure with an exaggerated facial expression and a bold, American flag-inspired outfit stands prominently in the foreground.
Stylised illustration of a protest scene, featuring a crowd of anonymous figures in shades of blue, pink, and black. A central figure with an exaggerated facial expression and a bold, American flag-inspired outfit stands prominently in the foreground.
The Pope of Trash reflects on his con­tro­ver­sial career ahead of the re-release of his black com­e­dy Mul­ti­ple Maniacs.

John Waters is a cult Amer­i­can direc­tor whose films focus on the grotesque goings on in the city of Bal­ti­more, Mary­land. He counts trash clas­sics Pink Flamin­gos, Female Trou­ble, Hair­spray and Ser­i­al Mom on his cin­e­mat­ic CV. Mul­ti­ple Mani­acs, his exper­i­men­tal 1970 fea­ture, has been restored and is set for re-release in the UK.

Waters: Has Trump ever seen one of my movies? I always used to think Bill [Clin­ton] might have seen Pink Flamin­gos. Hillary did not. I won­der if Trump… I’ve nev­er thought about whether he’s seen any­thing of mine. I would say I doubt it, because in col­lege he wouldn’t have hung around with that crowd.

He cer­tain­ly wears hairspray.

When­ev­er I get asked this, I always pick ones the fewest peo­ple have seen, which prob­a­bly may be Cecil B Dement­ed or A Dirty Shame. I always pick one of them because it’s like your kid who has brain defects – you like them more.

Well, they were free­dom to me. But you first of all have to fig­ure out what your free­dom even is, and then how to get it. And then once you get it, you just avoid all the peo­ple in life who will try to take it away from you. That is my pol­i­tics. You can’t real­ly judge oth­er peo­ple. I’m against sep­a­ratism. I think that is the main theme in all my movies. Just because Trump won does’t mean you shouldn’t speak to peo­ple. The smart peo­ple are against telling you how they think. If you cut your­self up, and if you want to make changes, make em laugh. If you want any­one to lis­ten to you, make em laugh. All their defences will come down.

The head of Bre­it­bart News [Andrew Bre­it­bart], the one that died. I did a show with him and I would hang out with him after­wards. And peo­ple were like, How can you talk to him?!’ And he said to me, I’m just like you, I’m just on the oth­er side. We’re play­ing the same game here.’ It’s all show busi­ness. And unfor­tu­nate­ly the Amer­i­can polit­i­cal sys­tem is now more like real­i­ty TV. I’ve nev­er seen one of those shows because it asks you to feel supe­ri­or to the stars. You can laugh even if you’re the biggest ass­hole, or the dumb­est per­son in Bal­ti­more – you feel supe­ri­or watch­ing Hon­ey Boo Boo, what­ev­er that is.

More peo­ple saw Mul­ti­ple Mani­acs when it was released in Amer­i­ca recent­ly than they did orig­i­nal­ly. My audi­ence back then was not imme­di­ate­ly what you’d think it was. It was some gay peo­ple, but those gay peo­ple didn’t get along with oth­er gay peo­ple. There were a lot of straight bik­ers, angry hip­pies that were clos­et punks. It was all peo­ple with a good sense of humour that hat­ed author­i­ty and were defi­ant about their own minor­i­ty move­ments. That’s an obscure niche. But that’s who they were at the time.

My par­ents nev­er saw Mul­ti­ple Mani­acs. It’s the only one they nev­er saw, and I’m glad they didn’t. My father paid for the movie and I paid him back every cent. He was speech­less. He couldn’t believe that I did. But it was filmed on their front lawn. Dur­ing the open­ing scenes, that’s their house in the back­ground. They didn’t even come down and look because they didn’t want to know. My par­ents learned not to snoop. In the ear­ly days the did and they didn’t like what they found.

Incred­i­bly so. I also filmed a scene in front of their house when we recre­at­ed the Kennedy assas­si­na­tion in Eat Your Make­up. Jack­ie was in the out­fit and every­thing. Peo­ple were like What?!’ around our neigh­bour­hood. There’s also a scene where Divine is walk­ing around the neigh­bour­hood and looks into somebody’s win­dow. That was my mother’s. We didn’t even ask. They could of been sit­ting there hav­ing Sun­day morn­ing breakfast.

Well, no, it was in the ground floor.

I had already made Mon­do Trasho, and been arrest­ed for con­spir­a­cy to com­mit inde­cent expo­sure. I had got­ten $2,500 from him to make Mon­do Trasho and I paid him back. Then I asked for $5,000 to make Mul­ti­ple Mani­acs. He had the mon­ey and gave it to me. I paid him back only because I went around the coun­try and got book­ings for it. And final­ly I asked him for $10,000 to make Pink Flamin­gos, and he gave it to me and said, Okay, you didn’t go to col­lege so put this into your next movie. But nev­er ask me again.’ Which was fair. He taught me a lot. I’m like a weird gay ver­sion of my father. My par­ents were hor­ri­fied by what I did but also respect­ed it some­how. What else could I do?

Oh, I had a shrink that once said, Your par­ents are the fuel you run on.’ Of course. I was raised to have very good taste. My uncle was Under­sec­re­tary of Inte­ri­or for the Nixon admin­is­tra­tion when we were mak­ing Mul­ti­ple Mani­acs. So yes.

That’s the Infant of Prague – a kind of fairy tale in Bal­ti­more. He’s a saint we hon­our. You buy a lit­tle doll and you change its lit­tle out­fits all year. The Infant of Prague slo­gan was: The more you hon­our you, the more I will bless you’. That’s so nar­cis­sis­tic! I mean, that’s right to the point. You hon­our me and I’ll give it back. So every­body in Bal­ti­more in work­ing class Catholic com­mu­ni­ties had the Infant of Prague in their house.

He was a friend of mine’s child. And he didn’t want to do it. You can tell. But he was in a hip­py com­mune and stuff. I don’t know where he is today.

No, but I’ll tell ya – this actu­al­ly hap­pened – I was giv­ing a lec­ture in a col­lege and this girl came up and said, You know, I was real­ly against you but I for­give you.’ I said, For what?’. And she said, I was the lit­tle baby that Ric­ki Lake gave birth to in the back of a car in Cry-Baby. And I was furi­ous that my par­ents did that with­out ask­ing my per­mis­sion as a child.’ She was pissed her whole life about it. Then we made friends.

I always hear them on the news or look through school year­books. But, you know, lawyers always check them when you turn in your script, they flick through the phone book to make sure these names don’t exist already. So I’d mix them up. Taffy, Dav­en­port… some peo­ple in Amer­i­can think a sofa is called a Dav­en­port. I don’t why. I hear somebody’s name and I just write it down. [Edna] Turn­blad from Hair­spray was a name I used to see on a mail­box in my neigh­bour­hood, and thought, Ugly name. I’ll take it.’

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