Obviously referring to the feline of the species, if anyone overseeing Google’s filters is reading. There’s no way of sugar-coating this chums, so let’s get through the next sentence together, without pissing off the Google filter: the note in question reads ‘I’ll get you pussy face’.
Things got taxing too when the character of Beverly, played by Turner, sends an anonymous note to another character in the film (I’m going spoiler-light here), by way of threat. Many other unnamed brands also refused permission.
Permission, as reported by Premiere in April 1994, was not granted. One leading American brand of cleaning product for instance is Shout, and permission was sought from its manufacturer to include it in the movie. The idea was that the lead character needed to be in some way relatable, and part of that cocktail was that she bought the same brands that audience members did as well.
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And, bluntly, after reading the script to Serial Mom, requests for product placement – to add authenticity to certain scenes – were being denied.įor instance, John Waters was looking to use cleaning products that cinemagoers would recognise for the movie. Heck, co-star Sam Waterston was advised not to watch Waters’ previous films by his director.
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In fact, getting the necessary permissions for the movie was problematic. Granted, she came with a reputation for being tricky to work with, as Waters would recall in his book Mr Know It All, but he found her quite the opposite.īut even though he had secured a high profile star, Waters still faced a challenge in presenting the suburban backdrop he needed to make the film work. Whilst Waters had suggested the likes of Meryl Streep and Glenn Close for the part at one stage (and apparently, Julie Andrews was asked too!), it was always going to be a bold role for a movie star to take. The film featured Kathleen Turner in the lead role, and her casting was something of a coup. She gets irritated when people don’t do their recycling, and duly takes action. What’s more, her motives aren’t notoriety or anything grandiose. Serial Mom, if you’ve not had the considerable pleasure, is a dark comedy and a half, apparently an everyday American suburban housewife (as she was described at the time), who just happens to be a serial killer. Sure, Waters had pitched it as “not the usual John Waters movie”, but even so. And whilst by the end of the movie’s production the studio would have offloaded the project to Savoy Pictures, it still felt like something quite out there that Columbia had even been interested in the first place. In the early 90s, then, it came as something of a surprise that he was set to do something a little more mainstream, and with a mainstream movie star too.Ĭolumbia Pictures, to Waters’ surprise and delight, was willing to back a project he had in mind by the name of Serial Mom.
Yet nobody was doing what Waters was doing as well as him, and his work very much stands alone. For a mainstream audience? It’d be fair to say there wasn’t much crossover. His films, such as Pink Flamingoes, Hairspray (the pre-musical version, obviously) and Female Trouble were regarded as provocative, edgy, and thoroughly loved by those who got them. John Waters’ superb Serial Mom came up with some interesting problems, as it looked to present an everyday suburban scene against, er, a quite dark backdrop.īy the early 1990s, filmmaker John Waters had thoroughly earned an enviable reputation.
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