Quentin Tarantino once deemed Jack Hill "the Howard Hawks of exploitation," citing the legendary director's ability to work in seemingly any genre and deliver a mind-boggling array of one-of a-kind classics.
Hill's credits read as a "must-see" list for fans of visceral cinema. It is indeed astonishing to realize that one man was behind the surreal spook-house oddity Spider Baby (1964), the motor-revving race-car drama Pit Stop and the Women-In-Prison milestones The Big Doll House (1971) and The Big Bird Cage (1972).
In addition, Hill directed what many view as the ultimate pom-pom movie, The Swinging Cheerleaders, as well as the ultimate girl-gang thriller, Switchblade Sisters (1975).
Now consider that Hill also helmed Pam Grier's one-two punch of undisputed masterpieces, Coffy (1973) and Foxy Brown (1974).
Creating any one of those fan favorites would qualify Jack Hill as a giant in cult filmdom. It was an honor, then, when this incredible talent with a track record like no other joined us for a Skinterview.
Who was the first actress you had a crush on?
You mean some actress that I only saw on the screen? Or one that I worked with? If [it's] the former, it could only be Kim Novak in Pushover when Fred MacMurray asked her, "Your place or mine?" and she responded, "Surprise me" -- although I'd hardly characterize my feelings as a "crush."
She and I were both 21 at the time, so maybe that had something to do with it. If you mean the latter: none.
You directed the incredibly adorable Beverly Washburn in Pit Stop. What was it like working with her?
Beverly worked entirely on her own instincts, which were almost always just right. She only needed encouragement to feel confident. [She was] thoroughly professional, having begun her career as a child; but extremely vulnerable as a person.
Of course, you also directed larger-than-life Pam Grier in emCoffy (Picture: - - - ) and Foxy Brown (Picture: ). Do you still keep in touch with her?
It was a delight working with Pam. [She was] always thoroughly professional, a hard worker, creative even before she had much experience, a fast learner. She became a bit difficult after she became a star, but only because she tended to trust her own instincts more than mine, on occasion, and became a bit resistant.
No, we don't keep in touch. Our relationship cooled after a review came out saying she should work with better directors -- and I suspect her agent told her the same. She never had another hit after that.
Didn't you basically discover Pam when you directed her in the women-behind-bars classic The Big Doll House (Picture: - - - )? Wasn't that her big break?
Yes.
What's your overall feeling about the Women-in-Prison genre?
Been there, done that. Still, if someone should make me an offer...
Can you describe for me what being on the set of a Jack Hill film was like in the 70's? Were you a control freak?
I always liked to rely on the talents of my crew people, insofar as possible -- give them challenges. I can say without reservation that virtually all my people enjoyed working with me. On an 18-day schedule, believe me, there's no time to be any kind of freak.
What's your take on the way sexuality is portrayed in popular cinema today? Does it differ from what you did with films like Switchblade Sisters and The Swinging Cheerleaders (Picture: - )?
In those days, you couldn't put graphic sexuality on the screen like you can today. You had to suggest it, which in many ways was more effective.
I mean, when Clark Gable picked up Grace Kelly in Mogambo and carried her into his cabin, it was more sexually charged in my opinion than all the huffing and puffing.
Well, the bar has been raised quite a bit since then, so I suppose it wouldn't have the same effect today.
Still, just as with violence, I think suggestion and imagination are more effective than explicit visuals -- and more difficult to achieve. Greta Garbo's eyes when she looks down at the offscreen corpse of John Barrymore in Grand Hotel portrays the shock of death more effectively than the best makeup of bullet-holes in the forehead could convey.
It is amazing what a talented actress can do with just a look. Jill Banner had that kind of ability in your off-the-wall horror classic Spider Baby. Is it true that Jill wasn't really even a trained actress? What ever became of her?
Jill was just a natural talent; I don't know what, if any, training she had had by then. [It was] interesting that she and Beverly Washburn -- a many-year veteran by that time -- played so well off of each other.
Jill went on to do a few other pictures, including a spaghetti western, then she became Marlon Brando's one true love -- reportedly according to him. She was killed in a car accident on the PCH around 1981 while working on writing a script with Brando. They say he remained alone at her grave long after the funeral.
There's talk that you're still working on some long-time projects. Are you keeping your fingers in the cookie jar? Would you work with producer Roger Corman again?
Please! The pie, not the cookie jar! Work with Roger again? Not on your life. Well, unless he made me a good offer.
Yes, I'm working on both long-time and new projects. Been writing in collaboration with my very talented wife, Elke. Got a romantic comedy getting set up in the UK [plus] another couple of new scripts going the rounds. Keep hope alive!
Do you attend fan conventions and autograph shows?
For awhile I was accepting such invitations. Signed a lot of stills and posters [and] of course never charged a fee for doing so, which I've regretted somewhat since I've seen some of them turn up on eBay. Had some good times seeing old friends again. Otherwise they're mostly a bore.
Do you watch your own films?
Yes, I actually do watch them at times at various film festivals that I get invited to, but only to gauge the audience reactions -- never too late to learn something more, especially how the audience perception of films changes over time.
Hill's credits read as a "must-see" list for fans of visceral cinema. It is indeed astonishing to realize that one man was behind the surreal spook-house oddity Spider Baby (1964), the motor-revving race-car drama Pit Stop and the Women-In-Prison milestones The Big Doll House (1971) and The Big Bird Cage (1972).
In addition, Hill directed what many view as the ultimate pom-pom movie, The Swinging Cheerleaders, as well as the ultimate girl-gang thriller, Switchblade Sisters (1975).
Now consider that Hill also helmed Pam Grier's one-two punch of undisputed masterpieces, Coffy (1973) and Foxy Brown (1974).
Creating any one of those fan favorites would qualify Jack Hill as a giant in cult filmdom. It was an honor, then, when this incredible talent with a track record like no other joined us for a Skinterview.
Who was the first actress you had a crush on?
You mean some actress that I only saw on the screen? Or one that I worked with? If [it's] the former, it could only be Kim Novak in Pushover when Fred MacMurray asked her, "Your place or mine?" and she responded, "Surprise me" -- although I'd hardly characterize my feelings as a "crush."
She and I were both 21 at the time, so maybe that had something to do with it. If you mean the latter: none.
You directed the incredibly adorable Beverly Washburn in Pit Stop. What was it like working with her?
Beverly worked entirely on her own instincts, which were almost always just right. She only needed encouragement to feel confident. [She was] thoroughly professional, having begun her career as a child; but extremely vulnerable as a person.
Of course, you also directed larger-than-life Pam Grier in emCoffy (Picture: - - - ) and Foxy Brown (Picture: ). Do you still keep in touch with her?
It was a delight working with Pam. [She was] always thoroughly professional, a hard worker, creative even before she had much experience, a fast learner. She became a bit difficult after she became a star, but only because she tended to trust her own instincts more than mine, on occasion, and became a bit resistant.
No, we don't keep in touch. Our relationship cooled after a review came out saying she should work with better directors -- and I suspect her agent told her the same. She never had another hit after that.
Didn't you basically discover Pam when you directed her in the women-behind-bars classic The Big Doll House (Picture: - - - )? Wasn't that her big break?
Yes.
What's your overall feeling about the Women-in-Prison genre?
Been there, done that. Still, if someone should make me an offer...
Can you describe for me what being on the set of a Jack Hill film was like in the 70's? Were you a control freak?
I always liked to rely on the talents of my crew people, insofar as possible -- give them challenges. I can say without reservation that virtually all my people enjoyed working with me. On an 18-day schedule, believe me, there's no time to be any kind of freak.
What's your take on the way sexuality is portrayed in popular cinema today? Does it differ from what you did with films like Switchblade Sisters and The Swinging Cheerleaders (Picture: - )?
In those days, you couldn't put graphic sexuality on the screen like you can today. You had to suggest it, which in many ways was more effective.
I mean, when Clark Gable picked up Grace Kelly in Mogambo and carried her into his cabin, it was more sexually charged in my opinion than all the huffing and puffing.
Well, the bar has been raised quite a bit since then, so I suppose it wouldn't have the same effect today.
Still, just as with violence, I think suggestion and imagination are more effective than explicit visuals -- and more difficult to achieve. Greta Garbo's eyes when she looks down at the offscreen corpse of John Barrymore in Grand Hotel portrays the shock of death more effectively than the best makeup of bullet-holes in the forehead could convey.
It is amazing what a talented actress can do with just a look. Jill Banner had that kind of ability in your off-the-wall horror classic Spider Baby. Is it true that Jill wasn't really even a trained actress? What ever became of her?
Jill was just a natural talent; I don't know what, if any, training she had had by then. [It was] interesting that she and Beverly Washburn -- a many-year veteran by that time -- played so well off of each other.
Jill went on to do a few other pictures, including a spaghetti western, then she became Marlon Brando's one true love -- reportedly according to him. She was killed in a car accident on the PCH around 1981 while working on writing a script with Brando. They say he remained alone at her grave long after the funeral.
There's talk that you're still working on some long-time projects. Are you keeping your fingers in the cookie jar? Would you work with producer Roger Corman again?
Please! The pie, not the cookie jar! Work with Roger again? Not on your life. Well, unless he made me a good offer.
Yes, I'm working on both long-time and new projects. Been writing in collaboration with my very talented wife, Elke. Got a romantic comedy getting set up in the UK [plus] another couple of new scripts going the rounds. Keep hope alive!
Do you attend fan conventions and autograph shows?
For awhile I was accepting such invitations. Signed a lot of stills and posters [and] of course never charged a fee for doing so, which I've regretted somewhat since I've seen some of them turn up on eBay. Had some good times seeing old friends again. Otherwise they're mostly a bore.
Do you watch your own films?
Yes, I actually do watch them at times at various film festivals that I get invited to, but only to gauge the audience reactions -- never too late to learn something more, especially how the audience perception of films changes over time.
