“Punks are my people,” declares John Waters. The legendary filmmaker, known for his transgressive, low-budget cult classics of the 1970s, helped define the “midnight movie” era—a period that mirrored the raw, rebellious spirit emerging simultaneously in the punk rock scene.
Despite his penchant for sharp tailoring over studded leather, Waters admits he finds a deeper sense of belonging in a gritty punk club than in typical nightlife circles. “Punks are rarely square,” he notes. “I’ve found that the gay people I truly relate to are the ones you’d find in a punk bar—the ones living quietly on the fringes, which feels remarkably refreshing in an era where everyone’s private life is constantly on display.”
The iconic director is currently deep in preparations for his role as master of ceremonies at the 2026 Mosswood Meltdown, held in Oakland, California, from July 17-19. Since he began hosting the festival in 2015, Waters has forged a genuine bond with both the organizers and the local community. This year’s lineup promises an eclectic powerhouse of talent, featuring headliners Iggy Pop and Bikini Kill, along with performances by Pavement, Otoboke Beaver, and The Dead Milkmen, among many others.
Ahead of the festivities, Waters caught up with Billboard to discuss his rigorous writing process, his stance on the creative utility of AI, and which punk provocateurs he’d cast in a hypothetical dream production.
On the Punk Ethos and Artistic Legacy
Reflecting on his career, Waters insists that his 1972 masterpiece Pink Flamingos was essentially a punk film before the genre even had a name. “The punk attitude was baked into my work from day one,” he says, noting his long-standing friendship with music pioneer Jayne County.
The Casting Couch: Punk Edition
When asked which modern punk artists would fit into his cinematic world, Waters points to the raw energy of Amyl and the Sniffers. “She is the closest thing to Iggy Pop that I’ve seen in years,” he remarks. “She’d be my number one choice for a role.”
The Craft of the Introduction
Waters emphasizes that his hosting duties are no mere cameo; he treats them as a serious creative project. “I spend weeks crafting new comedy material specifically for this crowd,” he reveals. “I write unique introductions for nearly twenty acts every year. It’s an extensive process of research, listening to tracks, and watching videos to ensure the tone is just right.”
On Aging, Stage Diving, and AI
Regarding his fellow legend Iggy Pop, Waters remains in awe of the icon’s stamina. “He’s still out there stage diving at his age,” Waters says with a laugh. “I’ve certainly considered it, but I’ve decided against it. If I were to dive into the crowd, I’m not entirely sure they’d catch me.”
On the topic of artificial intelligence in the arts, Waters is unmoved. “I’d use AI to find a cure for cancer, certainly, but for writing? No. I’ve seen AI-generated attempts at my own style, and it’s always like a dismal first draft. It feels too perfect, and honestly, that’s not interesting at all.”
