The legendary figure who launched the careers of Spike Lee, Michael Moore, and Richard Linklater offers a no-holds-barred look at the deals and details that propel an indie film from a dream to distribution.
An insider's account of what goes on behind the scenes in independent film covers John Pierson's pivotal role in the launching of such films as Stranger than Paradise, Clerks, She's Gotta Have It, and Roger and Me.
In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.
“A fast-moving account of the era bookended by Stranger Than Paradise and Pulp Fiction . . . [a] Baedeker of off-Hollywood where all roads lead to Park City.” —Interview The legendary figure who launched the careers of Spike Lee, Michael Moore, and Richard Linklater offers a no-holds-barred look at the deals and details that propel an indie film from a dream to distribution. At the epicenter of the industry in the 1980s and ’90s, John Pierson reveals what it took to launch such films as Stranger Than Paradise, Clerks, She’s Gotta Have It, and Roger and Me. A chronicle of a remarkable decade for the American independent low-budget film, Spike, Mike, Slackers & Dykes also celebrates the nearly two dozen first-time filmmakers whom Pierson helped make a name for themselves and the hundred others whose success stories he observed at close quarters. “John Pierson has faithfully chronicled the American independent scene. He was there, he knows.” —Spike Lee “Sly, knowledgeable, deeply entertaining . . . You couldn’t do much better than to hop aboard this ten-year wild ride. Grade: A.” —Entertainment Weekly “The most contentiously witty and revealing view of off-Hollywood around.” —Rolling Stone “Mr. Pierson, who has lived, breathed, and hunted film for most of his adult life, covers his territory with urgency and conviction, and his single-mindedness is ravishing.” —The New York Times Book Review “Pierson’s prose is quick-moving and witty and reads like a Who’s Who of the off-Hollywood mavericks who make the movies we’d like to see but can’t always find.” —The Washington Post “A marvelously entertaining, educational, and caustic account of the rise of American independent filmmaking.” —The Globe and Mail
James Mottram traces the roots of this generation of American film-makers to Steven Soderbergh's 'Sex, Lies and Videotape' and looks at how many kickstarted their careers and made their mark at Robert Redford's Sundance Institute in Utah or at his film festival.
The independent sector has produced many of the most distinctive films to have appeared in the US in recent decades. From 'Sex, Lies and Videotape' in the 1980s to 'The Blair Witch Project' and New Queer Cinema in the 1990s and the ultra-low budget digital video features of the 2000s, indie films have thrived, creating a body of work that stands out from the dominant Hollywood mainstream. But what exactly is 'independent' cinema? This, the first book to examine the question in detail, argues that independence can be defined partly in industry terms but also according to formal and aesthetic strategies and by distinctive attitudes towards social and political issues, suggesting that independence is a dynamic rather than a fixed quality. Chapters focus on distribution and relationships with Hollywood studios; narrative ('Clerks' and 'Slacker' to 'Pulp Fiction', 'Magnolia' and 'Memento') and other formal dimensions (from 'Blair Witch's' 'authenticity' to expressive and stylized camerawork and editing in work from Harmony Korine to the Coen brothers); approaches to genre and alternative socio-political visions.
The movie Slacker unfolds during a 24-hour period in Austin, Texas, in which hundreds of characters wander about in a timeless entropy, working hard at doing nothing. Now, to coincide with the national video release of this cult classic, a book that is a ricochet of the movie and the phenomenon. Includes a foreword by bestselling author Douglas Coupland. Illustrated.
Chromatic Cinema Color permeates film and its history, but study of its contribution to film has so far been fragmentary. Chromatic Cinema provides the first wide-ranging historical overview of screen color, exploring the changing uses and meanings of color in moving images, from hand painting in early skirt dance films to current trends in digital color manipulation. In this richly illustrated study, Richard Misek offers both a history and a theory of screen color. He argues that cinematic color emerged from, defined itself in response to, and has evolved in symbiosis with black and white. Exploring the technological, cultural, economic, and artistic factors that have defined this evolving symbiosis, Misek provides an in-depth yet accessible account of color’s spread through, and ultimate effacement of, black-and-white cinema.