Jack Hill Poster


Jump to: Overview (1) | Mini Bio (1) | Spouse (1) | Trivia (5) | Personal Quotes (3)

Overview (1)

Date of Birth 28 January 1933Los Angeles, California, USA

Mini Bio (1)

Jack Hill grew up around movies--his father was a designer for the Disney studios and Warner Brothers. He went to the University of California to study film, where he was a classmate of Francis Ford Coppola--they worked together on student productions and later both apprenticed with Roger Corman, working on The Terror (1963). While Coppola went on to Oscardom, Jack continued with B-flicks. He didn't make a lot of films, and while all were low-budget they all (except Switchblade Sisters (1975)) made money, and his early "blaxploitaton" films Coffy (1973) and Foxy Brown (1974) were hits. Soon after "The Jezebels" he stopped making movies so he and his wife Elke could pursue meditation and he could write novels. Nowadays his films are hailed as cult classics, thanks primarily to Quentin Tarantino, who saw Hill's work as it made its way to video. With retrospectives and a re-release of "The Jezebels", his career seems to be reviving.

- IMDb Mini Biography By: Bruce Cameron <dumarest@midcoast.com>

Spouse (1)

Elke (1973 - present)

Trivia (5)

After working with Jack Nicholson in The Terror (1963) he classed Jack as a terrible actor, but when he saw him in The Little Shop of Horrors (1960) he rethought his opinion--Jack had just been miscast in Roger Corman films.
Attended Hollywood High School.
His UCLA student movie The Host (1960) was a huge influence on the last third of Francis Ford Coppola's Apocalypse Now (1979).
Interviewed in "Wild Beyond Belief: Interviews with Exploitation Filmmakers of the 1960s and 1970s" by Brian Albright (McFarland & Co.).
In 1998 he was set to direct a film project, "Julie McGriff's Difficult World of Sex". Sheryl Lee was set to star in the film, which was to be an offbeat comedy.

Personal Quotes (3)

[on making 1970s "blaxplotation" films] You were working on pictures that the industry had nothing but contempt for. There was a lot of racism in the industry, a lot of it was under the surface, but it was here. And the executives at the studios really had contempt for the audience they were making movies for. It was an uphill struggle to try to do anything really good.
I had the freedom to improvise. I feel quite fortunate that I worked in the low-budget sector because it meant I did not have to deal with committees who wanted to impose their ideas and prejudices on my material. I had a free hand--much more so than I would have had if I was working for the studios. As long as you put the elements in there that producers like Corman [Roger Corman] knew they could sell, such as sex and violence, you could raise the picture a little higher than expected and give the audience something intelligent to chew on.
I always wanted people to feel positive at the end of my films. I was always careful to try and juxtapose humor with the violence and tragedy. I think I accomplished that, and perhaps that is why a generation or two later my films are still popular and in-demand while many of the mainstream movies I was up against at the time, and truth be known, I was quite envious of, are now forgotten.

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