Filmmaker John Waters, often dubbed the “Pope of Trash,” reflects on a six-decade career marked by audacious and boundary-pushing cinema. His journey, which began with intentionally shocking films, took an unexpected turn with the PG rating for his 1988 hit ‘Hairspray.’ Waters, speaking from his home in Provincetown, Massachusetts, recalled the moment with a shudder, fearing a backlash from his established fanbase accustomed to his more extreme fare.

From ‘Unfilmable’ to Mainstream Success

Waters built his early reputation on challenging conventional sensibilities. Films like ‘Eat Your Makeup’ controversially recreated the JFK assassination shortly after the event, featuring the iconic drag performer Divine as Jackie Kennedy. ‘Multiple Maniacs’ introduced a bizarre sexual act and a memorable rape scene involving a giant lobster. Perhaps his most infamous work, ‘Pink Flamingos,’ included a scene where Divine famously consumed a dog’s feces on camera. These works cemented Waters’ status as a purveyor of the transgressive.

‘Hairspray,’ however, represented a significant shift. While still retaining some of Waters’ signature eccentricities—such as brief moments of grotesque humor and Divine’s dual role as a Baltimore housewife and a prejudiced television executive—the film was a vibrant comedy centered on a fictional 1960s dance show. Rolling Stone described it as a film that could appeal to both the wholesome Brady Bunch and the notorious Manson family, highlighting its unique blend of accessibility and underlying subversion. Despite its relative tameness, Waters admitted to feeling anxious about its reception, fearing it might alienate his cult following.

A Shift in Creative Process and Personal Habits

The release of ‘Desperate Living’ in 1977 marked another pivotal moment, not just in his filmography but in his personal life. Waters revealed that this film was the first he wrote without the aid of marijuana. He explained a surprising consequence of achieving mainstream success: “The minute I had success, I stopped taking drugs.” He elaborated that his motivation was to remain focused and avoid distraction, a stark contrast to the common narrative of artists succumbing to substance abuse. Waters expressed a particular disdain for drugs like ecstasy, which he felt promoted an unwelcome universal affection.

His experiences with various substances were candid. “I hated heroin,” he stated, noting the unpleasant physical sensations and emphasizing that he never felt the need for it, unlike, in his view, jazz musicians. This period of creative and personal evolution coincided with his growing recognition in Hollywood. ‘Hairspray’ not only became a critical and commercial success, paving the way for collaborations with stars like Johnny Depp and Kathleen Turner, but also inspired a Tony Award-winning Broadway musical and a subsequent film adaptation starring John Travolta.

‘Desperate Living’: Anger and Artistry

‘Desperate Living,’ in contrast to the success of ‘Hairspray,’ is described by Waters as his “angriest movie” and “ugliest.” The film, set in a dystopian ghetto ruled by the eccentric Queen Carlotta, did not perform well commercially upon its release. Waters speculated that the absence of Divine, who was unavailable due to other commitments, might have contributed to its lukewarm reception. Divine had been slated to play a key role involving significant physical transformation.

Even in its perceived flaws, Waters defended the film’s more shocking elements. He addressed a scene involving a car driving over a dog, clarifying that the animal was already deceased and sourced from a hospital laboratory. He humorously acknowledged the logistical challenges of filming such a scene, including the need to defrost the animal and clean the vehicle’s axle between takes, calling it “the glamorous world of film-making.”

Enduring Themes and Social Commentary

Despite the superficial differences between his early shock tactics and later, more accessible films, recurring themes persist in Waters’ work. The presence of rats and roaches, for instance, appears in both ‘Desperate Living’ and ‘Hairspray.’ Waters fondly recalled a scene in his 1998 comedy ‘Pecker’ involving rats, detailing his unconventional directorial methods to elicit the desired performance. He also drew parallels between the capricious nature of Queen Carlotta in ‘Desperate Living’ and contemporary political figures, referencing a past public dispute with then-President Trump over the portrayal of Baltimore.

Waters emphasized that his films, while often chaotic, operate under a set of core principles. “The rules are: mind your own business and don’t judge people if you don’t know the whole story,” he asserted, distinguishing his approach from true moral anarchy. He believes that humor is a powerful tool for change, stating, “I think they say that anger can be good, but the way you change things is through humour.” He maintains a careful approach to sensitive topics, choosing to satirize subjects he admires rather than those he despises, a strategy he credits for his enduring career.

Legacy and the Spirit of Divine

The enduring impact of Divine, who passed away shortly after the release of ‘Hairspray,’ remains a significant theme. Waters expressed ongoing shock at his friend’s death and believes Divine profoundly influenced the evolution of drag culture. He credits Divine’s fearless embrace of his identity—including his weight, visible scars, and confrontational persona—with inspiring a generation of drag performers to adopt a more avant-garde and punk-influenced aesthetic.

Looking back over his 60-year career, John Waters continues to be a vital voice in cinema, proving that provocative art can coexist with personal integrity and a keen understanding of the human condition, all while navigating the evolving landscape of filmmaking and societal norms.