There doesn’t seem to be anything that John Waters, America’s premier queer Renaissance man, can’t do. He’s a filmmaker, an author, a journalist, a visual artist, an obscure music aficionado and monologist. He practically invented (and later perfected) the indie film genre with classic cinematic works including “Pink Flamingos,” “Polyester” and “Hairspray” (which was later adapted as a musical for both the stage and screen). A raconteur of the highest order, Waters has been touring his one-man show “This Filthy World” around this filthy world for several years, revising and refining with each performance. I had the honor of speaking with John about same-sex divorce, a “Hairspray” pilot and what it was like to hitchhike across the country.
Gregg Shapiro: John, I’m glad to have the chance to speak to the living you, especially after the unfortunate March 2013 internet report to the contrary claiming you had passed. Was that the first time that you were ever the subject of an internet prank or hoax?
John Waters: That I know of, yes. And it wasn’t that funny. The Onion would have done it much better.
They have a better sense of humor.
They’re better writers.
The last time we spoke was at the time of the publication of your book “Role Models.” Looking back on it, how would you rate the experience of writing and publishing that book?
It was one of the best experiences of my life. It was a bestseller on the New York Times bestseller list – one week! – and it spent many weeks on the LA Times bestseller list, and other lists as well. I just finished my new book, called “Car Sick,” for FSG, the same publisher. Writing books is something that I’ve always enjoyed doing. Both “Shock Value” and “Crackpot” have never gone out of print. I’ve had good luck with writing books. I read all the time so it’s proper that I continue to write books just as much as I try to make movies.
What is “Car Sick” about?
In “Car Sick,” I hitchhiked by myself across America. The first part of the book is me imagining, before I left, the 15 very best rides that could happen, with sex and adventure, and then the very worst 15 rides I can imagine, which ended in my death. And then the next day I did it for real, which was 21 rides in nine days.
Where did you go?
From the front door of my Baltimore house to the front door of my San Francisco apartment.
In addition to being an author, filmmaker and aficionado of distinctive holiday music, you are also a stage performer, with your “This Filthy World” live show, for example. What do you enjoy about performing in front of an audience?
I can always play myself easier than I can play somebody else. I like writing the material. It’s another writing job. It’s another way for me to tell stories. I meet my audience. I test jokes and I can talk about something that happened that very day. It’s something that is constantly revitalized, I hope, and updated. I sing for my supper, that’s how I make my living.
Can you see a significant evolution of “This Filthy World” since you first performed it?
It came from when Divine and I used to go to colleges and show the movies. It would be a 5-10 minute introduction and I would come out dressed kind of like a hippie pimp in shirts with shrunken heads on them. I think (punk musician and actor) Stiv Bators wore that same shirt in “Polyester” years later. I would talk about nudist camp movies and things that nobody else ever talked about then. Then I would introduce Divine and he would come out. His act was very much like the act that was in “Female Trouble.” He would rip a telephone book in half. He would throw dead fish in the audience. Then, if we had more of a budget, if it was a bigger city, we would have a fake cop – because I had a stolen police uniform and a short-haired wig – and we would cast some cute guy as the cop who would come on stage and pretend to take us away for obscenity and Divine would strangle the cop. The audience would cheer and the movie would start. That’s how it began. And I’m sure it never could be that good [laughs]. Now it’s gotten to the point where I don’t show my movies, I don’t even talk that much about my movies, because it has become much more of a spoken word act. I was influenced by the baggy pants comedians that I used to see at the Gaiety Burlesque in Baltimore at the end of vaudeville. I’m probably the only film director that has a standup act. No, Kevin Smith does, too. He has one. His is very good.
Are there any new music compilations on the agenda – perhaps one with a same-sex marriage theme?
[Laughs] Maybe same-sex divorce. That would be, to me, a newer subject. I always said if you want to make money, invest in gay divorce and tattoo removal. Two of the biggest growth industries we’re going to have in the next decade. I doubt I’ll do another compilation. The record business is not so great and I love those two albums, but I did not have a great relationship with the company that put them out. I think they bungled it. You know what? Everybody says that about music. Except now I have proof [laughs]. I think I was kind of soured from that experience, even though I was really pleased with the music. They were received quite well. I always wanted to do one called “Breaking Up With John Waters.” All great music is about breaking up. You ever heard a good, soulful song about a happy, functional marriage? I don’t know of any. They’re usually like, [sings] “Love and marriage…,” Doris Day or something. And I like that, too. I think that breaking up usually inspires more songs. I had a great picture of me that was never used from when we released “Cry-Baby.” I had a shot of every star at the end with a single tear, crying like Cry Baby. I shot one of myself, and that would be the cover.
Do you think you will ever create a sitcom or dramatic series for television?
I have already written “Hairspray” as a pilot, so, yes, I think it would certainly be possible. I’m not saying against it. I think TV certainly has as much freedom as independent film does and you’re paid better and there’s more chance of getting it made.
Do you have any new movies in the works?
I don’t spend a lot of time doing that because I think the independent film as I knew it is over right now. They want me to make a movie for half a million dollars, which I’ve done, and have no desire to do again. The rest of my career is going better than it ever has in my whole life. Right now I can’t afford to make movies. I had a meeting this week about another movie. I’m still trying to make them, but the business has radically changed. If you’re 16 or 18 and starting to make movies, it is the best time ever. Hollywood is looking for you.
Follow