Kaboom   

by writer/director Gregg Araki

My movies have always been for and about outsiders—those who feel different and unspoken for, many of whom grew up closeted outcasts in some hostile, godforsaken little Red State town. Over the years, I’ve had a lot of fans tell me that The Doom Generation or Nowhere opened up a whole new world for them and really helped get them through a tough time. As a filmmaker that’s probably the highest compliment you can be paid, that something you created could mean so much to someone. I made Kaboom with the hope that it might become that kind of film for a whole new generation because frankly, given the current marketplace, nobody’s doing these kind of wild, outside-the-box movies anymore.

While I am in no way distancing myself from my more recent films like Mysterious Skin and Smiley Face (which I love dearly and am incredibly proud of), I got excited about doing something as unhinged and creatively free as the movies I made back when I was more naïve and perhaps more idealistic about cinema and life in general. With Kaboom, I purposefully set out to get back to my most innocent, uncensored indie roots—to take bigger, bolder artistic risks and let my imagination run wild.

But I’m not the same person I was fifteen years ago. I’m in a completely different place in my life—older, wiser and definitely a much more accomplished filmmaker—so it’s not even really possible for me to make Doom Generation 2 at this point. And I have no interest in repeating myself or creatively regressing. As an artist, it’s very important to me that I keep growing, evolving and challenging myself and that I make all different types and styles of movies.

The visionary brilliance of David Lynch has been a huge influence on me for most of my adult life and I’ve been wanting to do an enigmatic and epic Twin Peaks-style mystery for years. I always thought there was something very punk rock about that landmark show’s brazen challenging of the mainstream. It was fearlessly and unequivocally unique; it didn’t care about what was expected or acceptable. It lived by its own rules and there was a purity to it that was thrilling and new and incredibly inspiring. And while I know there’s no way to touch or replicate Twin Peaks’ groundbreaking genius, Kaboom aspires to that kind of creative free spirit—unfettered by the restraints and demands of mainstream convention. It seeks to be its own thing, to exist on its own terms and vibrate at its own crazy frequency.

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