By Stephanie Zacharek
By Alan Scherstuhl
By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
It's the Lana Turner story of the movie," says director John Waters of how he discovered Chuck Shacochis, who made the photographs taken on screen by the lead character in Waters's new film, Pecker. For this movie about an adorable goofball who snaps cockeyed pictures of his family and friends around his Baltimore neighborhood, causing a sensation in the New York art world, Waters needed to find someone to create photographs that would be believable in both contexts. He asked the photographer Matt Mahurin if he could recommend anyone. "Matt said, 'Well there's somebody in Baltimore,' " Waters recounts, "and when he told me his name, I was shocked because I've known Chuck for years. He works at Service Photo, which develops all my pictures. He waits on me every time I go into the store!"
"He thought I just worked at this store and that was all I did," muses Shacochis. "I used to live in the area where the movie was shot and do exactly what Pecker did--roam the streets on my day off and take pictures of people in their backyards."
This helped inform Shacochis's photographs, which perfectly reflect the movie's raunchy playfulness. Dynamic and off-kilter compositionally, these gritty shots of a male stripper "teabagging" a customer, for instance, or an art patron adjusting her cleavage are rooted in the tradition of street photographers like Weegee and Diane Arbus. "I told Chuck the pictures should have mistakes that Pecker wouldn't notice but would somehow make them even greater to New York. But Baltimore would think, 'Well, why didn't he fix that?' "
Shacochis freely embraced making purposeful mistakes. "In the darkroom, I was printing through tracing paper, toilet paper. I would throw sugar and flour on top of the glass to give the picture a really dirty look," laughs Shacochis. "Working in a photography store, I see a lot of photographs by people who have no idea what they're doing, but some of them are amazing. That gave me ideas, too."
Parallels exist between on-and offscreen photographers, but only to a point. For one thing, Pecker eschews the lure of New York celebrity in the end and stays true to Baltimore, while Shacochis seems poised to leave Baltimore behind. More importantly, Waters points out, "Chuck is sophisticated. Pecker was not. He would never, ever try to make a mistake. But Chuck understood what I was doing. It's like I always say, you can't have good bad taste if you don't know good taste. You have to know what rules to break."
Join My Voice Nation for free stuff, film info & more!