From Savoy Pictures/Everett Collection.Waters never met Crawford or Davis, but is a dear fan of both actresses as well as their late-career hagsploitation films.
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Sam Waterston and Kathleen Turner with John Waters on the set of Serial Mom, 1994. What restaurant wanted a picture of a rat on a plate on their front door?”. “They would put them on doors of restaurants and stuff, which turned into a nightmare. For the 1977 film Desperate Living, Waters paid a bunch of college students (instead of “the Mafia,” he notes his first mistake) to plaster posters of rats on plates around the city. “I met his widow I know his daughter Terry.” Castle also inspired Waters to try out promotional gimmicks early on in his career, though some of them went awry. (Proof: in Serial Mom, characters are shown watching a scene from Strait-Jacket.)“I’ve been a big fan forever,” he says. It was a full-circle moment: Castle is one of Waters‘s own biggest influences. He also recently guest-starred in Feud, the Bette Davis–Joan Crawford drama, as B-movie horror star William Castle, who directed Crawford in the axe thriller Strait-Jacket. Aside from re-releasing Serial Mom, Waters has kept busy working on new material, like his upcoming book Mr.
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I would never make a movie that I didn’t write. To me, the most important thing is the script. But I have nothing against slick-looking as long as the scripts are funny. Demented, he doesn’t always believe that credo: “Underground, raw movies that come out of nowhere and change everything, they aren’t slick-looking. Though he called technique “nothing more than failed style” in his film Cecil B.
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“I always wanted them to look like Hollywood movies, I just didn’t know how to do it,” he says. With Serial Mom, Waters was able to achieve a slickness he couldn’t figure out as an up-and-comer. Waters himself also makes a little cameo, playing the voice of Ted Bundy. Though fans of Waters’s earlier work might not find the film as radical, it’s still got a dark, absurdist core-Turner’s character is a serial killer with a Stepford Wives pedigree who tortures her neighbor with hideous prank calls (“Is this 4215 Pussy Way?!”) and plots to kill women wearing white after Labor Day. He made the most of it, casting his “Dreamlanders” (the nickname for his frequent collaborators) and stars like Turner, and building brand-new sets in warehouses-a far cry from the days when Waters would make movies in his family’s home. To date, it’s Waters’s most expensive film, with a crisp $13 million budget. It’s a crime story, the genre of the moment, with marvelous performances centered around an antiheroine and a biting sense of humor. Serial Mom, viewed through a 2017 lens, is oddly ahead of its time. Serial Mom, the 1994 true-crime satire starring Kathleen Turner as a homicidal homemaker, will get a new collector’s-edition release on May 9, featuring director’s commentary a conversation with Waters, Turner, and longtime Waters collaborator Mink Stole interviews with the cast (including Ricki Lake and Matthew Lillard) and a “making of” featurette, a scrumptious assortment fit for any Waters completist. His later films pack the same twisted bite-and soon, his glossiest film to date will be re-introduced to the public.
He made Divine eat dog shit ( Pink Flamingos), orchestrated anal sex scenes with rosaries ( Multiple Maniacs), and penned some of the screwiest one-liners to hit the silver screen (from Female Trouble: “I wouldn’t suck your lousy dick if I was suffocating and there was oxygen in your balls!”). Waters has, for decades now, reigned over cult cinema with a gleefully wicked eye.
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