Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema

by John Pierson

An insider's account of what goes on behind the scenes in independent film, and covers John Pierson's role in the launching of "Clerks"

Genres: Film, Nonfiction, Media Tie In, History, Memoir, Collections

384 pages, Paperback

First published January 1, 1996

Reviews

[Andy · Rating 2 out of 5]

In my library copy, someone had scrawled "Business" after the word "Cinema" on the title page, as either a clarification or a warning to future borrowers. That unknown graffitist's assessment was absolutely correct: this book is all about the financial side of the equation, with very little material on the artistic side.

[Elaine · Rating 2 out of 5]

It's not that this is a bad book, just that it is irrelevant unless you are in the business, the movie business,or heavily into movie trivia. It is all about how and when Indie films have been financed, where they were shown, what film festivals they've been in, and the like. It throws around the names of biggies like Scorsese and Cassavetes, as well as those of obscure indie film makers. It never analyzes any of the films and doesn't even show how, for instance, Slackers was chosen for distribution. It certainly doesn't tie up the Indie film phenomenon to American culture, nor does it say anything about films in the studio era which managed to break free of the strictures of the time. For that matter, it lumps all Indie films together, not categorizing them at all. There's quite a difference between Stranger than Paradise and Clerks -- or is there? He never says. There is certainly a difference in position between Scorsese and his early films, which are here called Indie, and the black and white, handheld camera productions with cheap soundracks, which are also here called Indie.

[Jesse · Rating 3 out of 5]

This was on my long list for many years. I'd always assumed it was the definitive book on indie film, but it turned out to be way more memoiry/insidery than I was expecting. Pierson knows wassup -- he sold the first films by Spike Lee, Michael Moore, Richard Linklater, Kevin Smith, & others -- but he assumes the reader has way more background in the industry than I apparently have. Thankfully, I have Peter Biskind's "Down & Dirty Pictures" in my pile, which is (I suspect) more what I was hoping for.

[Josh · Rating 4 out of 5]

The first half of the title is the shock & awe portion, designed for promotional attraction. The second part better describes the book: it really is a guided tour of a decade of American Independent cinema.

More specifically, it's more about film distribution and the process of getting a film finished, sold, and ultimately seen. It's not really about the process of making the film itself, so if that's what you're looking for, then you'll be disappointed. There's not a lot of talk about the craft, about editing techniques, screenwriting, casting, directorial choices, etc. This is more about the business end of it, and it's terrific.

There's a lot of great lessons to be learned here for an aspiring filmmaker, and a lot of interesting bits for people interested in independent film. There's some insider accounts of some big films and big directors and Pierson works to get the films over the finish line and find some critical and commercial success.

Pierson downplays his own role and abilities a lot of the time, making it a curiously humble book considering he's the central character for the entire thing. But the tone works well, in part because Pierson's willingness to be self-critical lends a great deal of extra credence to his take on situations where not all sides are fully reported and where point of view could color the outcome.

Kevin Smith's commentary conversation with Pierson help link the narrative together and are typically witty and engaging. It helps adding that perspective to the scene and makes for a nice break from getting too bogged down in dry accounting details that are important to understanding the whole picture, but could have easily pulling the whole thing down.

Interesting stuff.

[Harley Gesford · Rating 4 out of 5]

Superb. I have heard John Pierson’s name more times than I can count. Having seen the Clerks making-of documentary more than I have seen the actual movie, his name was all in it. Then I heard the Mallrats commentary and Kevin points out that he’s reading this book in a scene. So I bought this book. I wasn’t disappointed. Breezy, fun and makes me wanna watch all the movies I bought and still haven’t viewed.
A great snapshot of hustling, selling and loving films.
My man’s John worked with them all, even some of my favorite directors (Spike Lee, Jim Jarmusch, Richard Linklater and Kevin Smith). If you’d like a glimpse into the world of indie film making, then this is a book for you.
4 Stars instead of 5 because there was too much math.

[Martin · Rating 4 out of 5]

I've been on a Jim Jarmusch/Charles Burnett binge in the last month, and I wanted to read more about 'Stranger in Paradise'. What I did not expect about revisiting this book and this subject was how nostalgic it would make me for the independent film scene of the 80s & 90s. This coincided with my teenage years going to see alternative films at the Mayan and staying up late watching movies on Bravo with my dad. And the way that the Sundance film festival influenced my interests in film school in the mid 90s. Sad that all of that is over now.

[Fullnoom · Rating 2 out of 5]

In the final chapter, Pierson writes “I do worry about independent film being judged by deal terms and box office results...” then why the hell did you write over 300 pages about specific numbers and figures in sales and dealings and distribution of indie films? I was really hoping for more meat and analysis on this wonderful era of cinema and these films and their makers place within the art form, especially considering I was aware of this book for the last 15-20 years.

The last half of this book was a chore to get through. There are some interesting background details and overall feelings behind some of my favorite films and filmmakers birth into cinema, but overall, I just don’t care about the business side of things. One thing I appreciated and found value in is I found out about some really under the radar films and have added them to my watch list.

Also, Pierson and even Kevin Smith come off as arrogant and a little mean spirited in their perceptions and attitudes toward successful people. Even crossing the line in details about movie stars private lives

The other thing of interest was reading about the Weinstein’s early days in film and the start of Miramax. Nothing was said of sexual misconduct from Harvey, but he was clearly ruthless (predatory?) in his dealings with purchasing and getting the films he wanted.

[Paul · Rating 5 out of 5]

This is 5 stars, but only if you're really interested in/work in the indie film business. I found it fascinating and eye-opening about this very particular moment in US indie cinema (the book covers 1984-94), and John Pierson was on the front lines, so has so much insight into how it all worked. It's also kind of uncomfortable seeing just how central Harvey Weinstein was to the US indie boom, and you can't help but feel a bit queasy around any of Pierson's accounts of dealing with Weinstein (this book was written in the second half of the 90s).
Overall though, essential reading.

[A Cesspool · Rating 2 out of 5]

primary takeaway: Pierson's industry memoir glimpses little actual independent filmmaking [production].

I remember reading this (shortly after its initial 1995 offering) and thinking what a letdown the indie film'sphere sounded like -- especially after Robert Rodríguez's then-essential autobiography Rebel Without a Crew. Pierson's prose and details are about as sexy as his acquisitions: bottom of the barrel [aka the unwanted "cerebrals"]. Published prior to the author's legit producing indie: Chasing Amy (1997); albeit, Pierson does offer a few anecdotals regarding Kevin Smith's inspiration what would ultimately supply his shooting script -- Spike, Mike... is primary focused on acquisitions, representation & promotions.
Save for Kevin Smith's typical engagingly entertaining pull-quotes, there's little revelatory here ...as best recalled

In the lineup of 1990s Indie Cinema monographs, Pierson's Spikes is near the bottom of Must-Reads, imo:

🎬 Down and Dirty Pictures

🎬 Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies that Matter

🎬 Killer Instinct: How Two Young Producers Took on Hollywood and Made the Most Controversial Film of the Decade

🎬 Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System

🎬 The Disaster Artist

🎬 Hope for Film: From the Frontline of the Independent Cinema Revolutions

🎬 Spike, Mike, Slackers & Dykes

🎬 Indie, Inc.: Miramax and the Transformation of Hollywood in the 1990s

🎬 Sheldon Lettich: From Vietnam to Van Damme

[Nate Bloch · Rating 4 out of 5]

It can be easy for filmmakers to forget how truly difficult filmmaking used to be. You needed to get your hands on a camera, which was in and of itself extremely hard unless you were in film school or working for a rental house, and you needed to get your hands on enough film to actually make your movie. There were no memory cards or smart phones with 4K sensors or any number of accessible digital cameras that could be picked up at a Best Buy or Costco. And then you had to know someone technically knowledgeable enough to actually use the film camera, as well as the many lights you’d need in order to properly expose the film. Filmmaking was a very intentional art form: no one just accidentally fell into it by shooting a funny video on their phone that went viral. You had to want it and work very hard to create something watchable.

Times have changed a lot but the ambitious filmmakers John Pierson works with and describes in this fun look back at independent filmmaking from the early ‘80s through the mid-90s have the same creative impulses that drive a lot of contemporary creators. The difference is you had to be much more technically competent — and you called yourself a filmmaker, not a “creator” or “influencer,” the ambiguous catch-all for every teenager with a desire to make money on the internet without having a real job.

It’s a bummer that Pierson’s story ends right before some of the best independent cinema from the ‘90s was released, but this book is a good reminder that the limits placed on filmmakers in the past — the budgets needed, the technical expertise, a distribution deal to ensure anyone ever saw your film — are a thing of the past. Pierson seems to have been a true champion of the films and director/writers he believed in. It almost leaves one hopeful that with the right support a truly independent cinema movement could return. Until then it’s billions of hours of TikToks and YouTube video blogs. Time for someone to create a new and truly independent Sundance film festival. Maybe that’s too much to hope for.

[Erin · Rating 3 out of 5]

I'm late reading this, so perhaps I would have enjoyed it more several years ago (the only nice thing about it is actually seeing, 15-20 years later what has actually come of the next big thing directors...and most of the ones Pierson champions have become pretty important,(Spike Lee, Michael Moore) or at least have steady careers (Kevin Smith).

Also, I'm not very knowledgable about film distribution and, while I'll admit that I learned some stuff, it wasn't really all that interesting to me. There's some good information in here, but it's more a snapshot of a particular time. People in film production would enjoy it more and get more out of it than I did, I think.

[Jefferson · Rating 4 out of 5]

This is an interesting and engaging book, but a more accurate subtitle would be "a guided tour across a decade of the business of American independent cinema." The book is entirely about the author's first-hand experience getting distribution deals for first time independent film directors such as Spike Lee, Michael Moore and Kevin Smith. The level of specific detail is fascinating, but anyone looking for a more general history of independent film in the '90s is likely to be disappointed.

[Bill Shannon · Rating 2 out of 5]

If you don't know John Pierson's influence on art-house cinema of the 1980s and '90s, don't worry, he'll tell you.

[Tlingit · Rating 2 out of 5]

This is a difficult book to review as I didn't finish it. In fact I didn't even try. I believe if you are interested in the details and background of Independent Cinema you would probably enjoy this book. If you took a cinema class you'd be assigned this book. It seems very thorough and I recognized the movies that were involved (as far as I read that is,) but unless you're very involved in the movie/cinema community this book brings little pleasure to the regular audience. This is too bad because it is well written. I didn't know how to give it stars because although I didn't find it entertaining enough to draw me in permanently I know that it is well written and structured. Unfortunately well written and well structured doesn't always mean that everyone will like the material.

[Cody · Rating 3 out of 5]

I bought this book because Kevin Smith and his film Clerks were to be featured heavily in it. Furthermore, as a fan of independent film I wanted to learn what the late eighties into mid nineties was like regarding independent film. I learned a little, but not a lot. I have a very rough timeline of events in my head and a long list of movies to see. A lot of names and figures are dropped in this book and it was difficult to comprehend not being alive for the first half of the timeline and also not being an industry insider. I still liked this book but wish it was written more for a fan/layman.

[JHarrisComedy · Rating 5 out of 5]

An up-close look at the history of American independent cinema 1984 - 1994 from a a man who was instrumental in many of the films finding their way. It's a portrait of a specific decade in time for art and one that delivers all the way through.

[Greg Machlin · Rating 5 out of 5]

Fantastic look inside indie cinema of the 1980s and 1990s from one of the mild-mannered guys who revolutionized it. A must-read for anyone who's interested in film or filmmaking.

[Matt Heiser · Rating 2 out of 5]

The author's Appendix I, which listed all of the independent movies from 1984-1994, was easily the best part of the book.

[Salty_Mountain · Rating 4 out of 5]

Informative look into the 90s indie film revolution. Would like to meet this guy someday.

[Laurent Rejto · Rating 5 out of 5]

The ultimate guide to indie filmmaking when it was at its best.

[Timothy · Rating 2 out of 5]

This book is well written and incredibly detailed, but I went into it thinking it would be about the creation and creative process behind the making of these films that represented a boom time in independent cinema. I wasn't really aware of John Peirson and his importance as a financer and deal maker, so I had no idea going in that his story would be focused almost entirely on the money and marketing side of the film business. Which of course is an essential element of getting small films to an audience, but from my point of interest I found a lot of this book about as stimulating as studying bank statements and somewhere about the half way mark found myself skimming through to the end. I'd recommend this to someone with an active interest in the business end of show biz or serious indie film train spotters.

[Korey · Rating 1 out of 5]

This book covers an inherently interesting topic but the author's insane degree of self aggrandizement kills it. This is a tour of John Pierson's ego instead of independent cinema. The author, who doesn't write well, makes himself the center of the narrative in a really obnoxious fashion. That said, I would recommend the Rob Weiss chapter.

[Bcoltin]

I'm taking a class by John Pierson at UT. He brings in actors, directors, producers and interviews them. This semester will include Tarantino, Possibly Clint Eastwood, Matt Damon, one of the Coen brothers and others. SHould be fun

[Tambay · Rating 4 out of 5]

Informative and entertaining... a must read for anyone already in, or interested in diving into the cess pool known as indie filmmaking.

[T.tara Turk-Haynes · Rating 5 out of 5]

Awesome recount of the birthing of indie cinema though scary because it is also the birth of indie cinema as we know it today!

[D-train Longfellow · Rating 4 out of 5]

john pierson was all up in the middle of the indie film movement of the late-80's, early-90's. Very interesting stuff here.

[Distress Strauss · Rating 3 out of 5]

Funny how so few of these films appear to have lasted. Go Fish, anyone?

[Jack Herbert Christal Gattanella · Rating 5 out of 5]

everything you always wanted to know about spike lee, michael Moore, Errol morris, Kevin smith, and rob Weiss but didn't think to ask. John Pierson is a hero to independent film

[Richard · Rating 2 out of 5]

Nice title but less than interesting unless you're fascinated by the complex details of indie film deal. It should be subtitled "My Dinner With Andre" for the indie-pendent crowd.

[Josh Folan · Rating 4 out of 5]

Insight from the guy who basically molded the definition of what good independent film is supposed to be.