Anxiety Films

Jack Hill

PROFILE

Legendary cult-film director, grunge auteur, notorious -- these are some of the epithets used recently to describe writer-director Jack Hill. He has also been referred to as the man who initiated the women-in-prison genre of the seventies, and whose films helped define the so-called Blaxploitation genre, as well as the man who discovered Pam Grier.

Unlike most cult films, though, Hill's films were commercially extremely successful in their initial release, despite being generally snubbed by the more self-important critics of the time. But that situation has been remedied in recent years, as many of today's serious critics -- perhaps inspired by the enthusiastic support of Quentin Tarantino, who gladly acknowledges the influence of Hill's films on his own work -- have been taking a new look at some of Hill's films of the sixties and seventies and using terms like "post-modern", "ahead of their time", and "feminist manifesto" to describe them. The resulting rediscovery by a new generation of film fans has led to virtually all of Hill's films being currently reissued on home video and DVD

Filmography:

  • Sorceress 1983
  • Switchblade Sisters 1975
  • Foxy Brown 1974
  • The Swinging Cheerleaders ?1974
  • Coffy 1973
  • The Big Bird Cage 1972
  • The Big Doll House 1971
  • Ich, ein Groupie 1970
  • Pit Stop 1969
  • The Fear Chamber 1968
  • House of Evil 1968
  • The Incredible Invasion 1968
  • Isle of the Snake People 1968
  • Blood Bath 1966
  • Portrait in Terror 1965
  • Spider Baby 1964
  • The Terror 1963



Switchblade Sisters INTERVIEW WITH JACK HILL by Michelle Russo


QM: At what age did you become a filmmaker?
JH: I used to shoot and edit 8mm films when I was around 14, but dropped it till I was around 28, at which time I went back to UCLA to finish my degree in music composition and took a cinema minor with the idea of learning to score films. But I got into a screenwriting course and was encouraged to make films. So I did.

QM: Where and how did you get all your filmmaking experience?
JH: Made a couple of student films at UCLA, then worked for Roger Corman, starting out shooting inserts, pickups, re-writing scripts, editing, adding scenes to unfinished films, etc.

Foxy Brown QM: What is your favorite film and why?
JH: White Heat. Why? If you've seen it, you wouldn't ask. Cagney! Virginia Mayo! Steve Cochran! Max Steiner score! The last great American film. Only Raoul Walsh could have made it.

QM: What makes a great film?
JH: If I knew that, I'd... never mind. But one person's great film is another person's turkey. It's all opinion. The only objective measurement of a film's value is box-office, and it's a worthless measurement in esthetic terms, but it does tell you how many people liked the movie and told their friends they should see it. Go figure.

QM: Where do you get your ideas for your films? for ex.. spider baby..was it from a dream?
JH: Ideas generally come from the attempt to solve a problem. Most of my films have been assignments, where I was given the basic subject matter and had to come up with a way to fulfill the request -- solve the problem -- within certain guidelines. Limitations stimulate creativity, like writing a fugue. Spider Baby just came to me in some kind of mad smoke-dream -- it was the sixties, after all -- if you get my drift.

The Swinging Cheerleaders QM: The "Switchblade Sisters" film. I find that funny..because there is a band..called "Switchblade Symphony" and they are sisters..and were influenced from your film..what do you think about that?
JH: I think you're referring to the group actually called The Switchblade Sisters, which I don't think exists any longer.

QM: Do you set a certain budget for your films?
JH: The production company sets the budget. It' s always too low.

QM: Do you have other hobbies you do?
JH: Photography.

QM: When will you stop making films? We hope you never...but would you at any given time to do something else? and what?
Coffy JH: Eventually I'd like to finish a series of novels that I've blocked out. There are some things I'd like to say that require that medium.

QM: Do your ideas for films come from dreams?
JH: No. It's really mostly just hard work. Digging into consciousness. As Heraclitus said, "He who seeks gold finds much dirt and little gold."

QM: What future projects can we expect?
JH: These days I'm collaborating with my very talented wife, Elke, on writing new screenplays. Just now getting a romantic comedy set up to shoot in England, called A Perfect Wife. Also writing a classic detective/mystery/romance called Double Bind, inspired by Oedipus Rex, but without the incest.


The Cheerleaders Collection The Big Bird Cage Big Doll House Pit Stop Dance of Death Alien Terror Isle of the Snake People The Torture Zone Track of the Vampire/Nightmare Castle Spider Baby Dementia 13