“My films were never mainstream, but they always had an audience.”
From Pink Flamingos and Hairspray to Cry-Baby, Serial Mom, and beyond, John Waters has been shocking viewers with his signature brand of satirical camp that toes the line between arthouse and exploitation for more than half a century.
On November 21, Waters was presented with the 2024 Coolidge Award from Brookline, Massachusetts’ historic Coolidge Corner Theatre, an honor previously bestowed upon the likes of Meryl Streep, Michael Douglas, Julianne Moore, and Werner Herzog.
Launched in 2004, the Coolidge Award recognizes a film artist whose work advances the spirit of original and challenging cinema; an acknowledgment certainly befitting of Waters. The award’s 20th anniversary also marks the first presentation in the Coolidge’s recently expanded space, which opened last spring.
Following a tribute reel highlighting Waters’ work, Emmy award-winning GBH Executive Arts Editor Jared Bowen took the stage to lead a 45-minute conversation with the Pope of Trash himself about his storied career.
Like a real-life Forrest Gump — a film he lampooned in Cecil B. Demented — Waters casually mentioned partying with Elton John, befriending Jonestown survivors, taking acid at 70, helping end the death penalty in Maryland, hitchhiking across the country, and snooping in Elizabeth Taylor‘s medicine cabinet.
Photo by Iz Indelicato
Bowen dug into the filmmaker’s early life, from a puppet show career as a pre-teen to guerilla filmmaking in Baltimore and church basement screenings.
“The very first time I ever showed Pink Flamingos and people saw the shit eating scene, I knew it would be a hit,” Waters recalled. “People went crazy! Even if you hated it, you couldn’t not tell somebody.”
Could his iconoclastic films still be made in today’s climate? “I think so,” said Waters. “And I’m waiting for the next kid to make some movie that the same thing happens. That’s your duty!”
Waters also opened up about contemporary topics, including viewers’ shifting values, the modern cinematic landscape, and Donald Trump.
“He won because we made the enemy feel stupid,” he admitted. “Even when they are, you don’t let them know. You make ’em laugh, they’ll listen, then you have sex with them, and you change their mind.”
At 78, Waters still works regularly; writing scripts, books, and live shows in between guest starring spots ranging from “Chucky” and “Helluva Boss” to “The Marvelous Mrs. Maisel” and “Law & Order: Special Victims Unit.” He’s currently gearing up for his annual A John Waters Christmas tour.
Waters has been commissioned to write several movies in the two decades since his last directorial effort, A Dirty Shame, but none have made it into production. An adaptation of his 2022 “feel-bad romance” novel Liarmouth remains in limbo.
“There is not one new thing to say about it. We don’t have the money to make it,” Waters remarked. “Could that change tomorrow? Maybe.”
Ever the showman, each of his awe-inspiring stories with which he regaled the crowd concluded with a punchline — but Waters was nothing but genuine when Coolidge Corner Theatre Executive Director Katherine Tallman presented him with the Coolidge Award.
“Thank you so very much,” he beamed. “It means a lot to me, with no irony — for real!”
The Coolidge’s John Waters celebration continues with 35mm screenings of Desperate Living on November 29, A Dirty Shame on December 2, and Pecker on December 5. Waters made quite a convincing case for attending:
“This is a church, this theater. This is a cult. If you go to a regular mall cinema, you won’t get laid — but you might here!”
Photo by Iz Indelicato