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Next summer, Waters, who is 76, is being honored by the establishment he has flamboyantly provoked for more than 50 years. Burroughs called Waters the “Pope of Trash,” and he meant that as a compliment. He was offering for consideration a favorite artifact from his moviemaking career: the (rubber) leg of lamb that Kathleen Turner used as a murder weapon in a particularly gruesome scene from “Serial Mom.”įor decades, Waters was famous for pushing the boundaries of taste back when there were real boundaries of taste (enforced by entities like his one-time tormentor, the Maryland State Board of Censors), including the notorious final scene in “Pink Flamingos,” which involves dog excrement. “Hand me that leg of lamb,” Waters asked an assistant as two curators and the museum director followed him up the narrow stairs, through a doorway and into his cramped two-room home office — one room for “my writing and thinking” and one for, as he put it, selling. The mimeographed poster for the 1966 premiere of “Roman Candles,” retrieved from a stack of boxes. A birth certificate for Divine, the 300-pound cross-dresser who played the “filthiest person alive” in “Pink Flamingos,” hanging in a basement room piled with mementos. There was much to see: the electric chair from his 1974 dark comedy, ∿emale Trouble” in the entryway. John Waters was leading a delegation from the Academy Museum of Motion Pictures — in for the week from Los Angeles — on a tour of his home of 32 years, cluttered with film artifacts and kitschy curios and tucked behind trees on a quiet corner 5 miles from this city’s waterfront.