John Waters

www.myspace.com/447627939

I pride myself on the fact that my work has no socially redeeming value.

  • John Waters

  • 63 / Male
  • Baltimore, Maryland, US
  • Last Login: 11/28/2009

447627939|63|11101|http://c4.ac-images.myspacecdn.com/images02/22/m_194a001b75124de397ba22cd7e02941f.jpg

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Interests

  • General

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    Film * Music * Baltimore * Teaching * Photography * Chain Smoking * Serial Killers * Atomic Books * Collecting The Unusual
  • Music

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    Oldies * Punk * New Wave
  • Movies

    Waters Pictures, Images and Photos

    Hag in a Black Leather Jacket (8 mm) (1964) * Roman Candles (1966) * Eat Your Makeup (16mm) (1968) * Mondo Trasho (16mm) (1969) * The Diane Linkletter Story (16mm) (1969) * Multiple Maniacs (16mm) (1970) * Pink Flamingos (16 & 35 mm) (1972) * Female Trouble (16 & 35 mm) (1974) * Desperate Living (16 & 35 mm) (1977) * Polyester (1981) * Hairspray (1988) * Cry-Baby (1990) * Serial Mom (1994) * Pecker (1998) * Cecil B. Demented (2000) * A Dirty Shame (2004) * This Filthy World (2006) * Fruitcake (2008) (in production) * Hairspray 2 (2010)
  • Television

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    Court TV * My Name is Earl, episode "Kept a Guy Locked in a Truck" - Funeral Director * 'Til Death Do Us Part - Groom Reaper * Homicide: Life on the Street - Bartender, R. Vincent Smith * 21 Jump Street: episode "Awomp-Bomp-Aloobomb, Aloop Bamboom" - Mr. Bean * The Simpsons: episode "Homer's Phobia" - John
  • Books

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    Shock Value (1981) * Crackpot: The Obsessions of John Waters (1987, Revised Edition 2003) * Trash Trio: Three Screenplays: Pink Flamingos, Desperate Living, Flamingos Forever (1988) * Art: A Sex Book (2003) (with Bruce Hainley) * Hairspray, Female Trouble, and Multiple Maniacs: Three more screenplays (2005) * Director's Cut (1997) * John Waters: Change of Life (2004) * Unwatchable (2006)
  • Heroes

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    Divine * Edith Massey * Jane Mansfield * Little Richard * Rainer Werner Fassbinder * Herschell Gordon Lewis * Federico Fellini * Ingmar Bergman * The Filthiest People Alive

Details

  • Status: Swinger
  • Here for: Friends
  • Hometown: Balitmore
  • Orientation: Gay
  • Body type: 6' 2" / Slim / Slender
  • Ethnicity: White / Caucasian
  • Zodiac Sign: Taurus
  • Children: Love kids, but not for me
  • Smoke / Drink: Yes / Yes
  • Education: Some college
  • Occupation: Director/ Producer/ Teacher / Actor / Author
  • Income: $250,000 and Higher

Blurbs

About me:

John Samuel Waters, Jr., was born in Baltimore, Maryland in 1946. For those of you who don't know, Maryland can be a pretty strange place to grow up. Luckily for John, 1960's Baltimore had a few saving graces. Here he would meet the men and women willing to work in front of and behind the camera on his self-written, self-produced and independently financed movies. Although Baltimore has become a bit yuppified over the past 20 years, you can still visit Bob Adams' Fells Point thrift store Flashbacks for an autographed picture of the Egg Man, or check out Waters' Walk of Fame in front of the Senator Theater.

Over a period of more than 30 years, Waters has grown from a local boy making cheap, underground movies to a local man making counter-culture Hollywood comedies. But don't be fooled by the veneer - all of his films are shot on location in Baltimore and with very modest budgets. The star power of his post-Hairspray films demonstrate his influence and clout.

Waters writes all his own films, and the basic elements of filth and debauchery still exist in his screenplays - just in a more palatable fashion. Also present in many of his films are the plastic sincerity and squashed innocence of late 50's and early 60's Americana: Sweet mothers who make breakfast for a family of four versus cheap girls who have babies in the backs of cars.

John is also an accomplished writer and photographer. He has published two volumes of his journalistic exploits, one screenplay collection, and a great big book of pictures he took of his television.

Of course, he is most well known for breaking boundaries of acceptable film making. Drugs, Queers, Abortion, Religion - nothing is sacred in his field of vision. When asked about it, he says "secretly I think that all my films are politically correct, though they appear not to be. That's because they're made with a sense of joy." And perhaps that is why so many people from all around the world take such joy in his movies.

Who I'd like to meet:

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