(An interview with Jill Schoelen) The Strength, Vitality and Allure of Jill Schoelen

The Strength, Vitality and Allure of Jill Schoelen
(an interview with the underrated actress)

By Jerry Saravia

A few months ago I read a blog entitled, "Whatever Happened to Jill Schoelen?" I always wondered but the truth is she chose to raise a family over continuing her acting career (A more telling question would be whatever happened to Kitty Winn, known for "Panic in Needle Park" and "The Exorcist," but that is a subject for another time). If some of you are still wondering who this underrated sparkling brunette actress with the sensual voice is (as well as the personal crush of many fans), she made a name for herself with some cult horror movies of the 1980's, including the original and highly suspenseful "The Stepfather"; "The Phantom of the Opera" with Robert Englund; "Cutting Class" (featuring the film debut of Brad Pitt); the clever in-jokes of "Popcorn," which interestingly features a scarred villain not unlike the Phantom; in addition to an in-name only sequel to "The Curse" called "Curse II: The Bite." She has also appeared in a handful of TV movies like Wes Craven's "Chiller"; a low-rent though occasionally diverting production of "Babes in Toyland" with Keanu Reeves; a spectacular role as a blind girl in "Little House on the Prairie: A New Beginning" (for some "Little House" fans, it is their favorite episode); a Showtime sequel to "When a Stranger Calls" entitled "When a Stranger Calls Back" (one of the best and most absorbing thrillers ever made); and "Billionaire Boys Club," which also starred Judd Nelson. She also snagged a small part in non-horror films like the down and dirty comedy "D.C. Cab" as Adam Baldwin's love interest, and has, in my mind, given the best and most dynamic performance of her career in Floyd Mutrux's forgotten "There Goes My Baby," a 60's counterculture picture that also starred Noah Wyle and Ricky Schroder. There's also the less-than-stellar drama "Rich Girl" and the cutesiness of "Adventures in Spying," the latter of which stars G. Gordon Liddy!

The truth is Jill Schoelen stood apart from most young actresses of her day because of her strength, her credibility, her vulnerability, her vitality and her maturity (and her flowing black hair, particularly in a time where blonde and bimbo were synonymous and the norm). As Gene Siskel once remarked about actresses in general, we have a lot of "girls" in movies but few and far in between behave like women. Jill did, one hundred and ten percent. Whether it was as Brad Pitt's clueless girlfriend in "Cutting Class" or the Nancy Drew-like Stephanie Maine in "The Stepfather," she seemed wiser beyond her years and had a degree of intelligence. In "Phantom of the Opera," she stood her own against Robert Englund in period garb in a deliberate period piece (seeing her in "Opera" is a reminder that she would've been fantastic as May Welland in "Age of Innocence" or been a real firecracker as Annie Oakley, if Hollywood ever decides to revisit the famous sharpshooter's life). So it is my profound pleasure to have interviewed Jill Schoelen, a warm, gracious and patient woman who has given her time to one of her most ardent fans and has some choice nuggets of information about her roles in film, stage and beyond that she shares with refreshing honesty.

Jill and Roger Wilson in Thunder Alley

Jerry Saravia: "Was Terry O'Quinn just as scary in person when doing your scenes with him in The Stepfather as the film itself? Also, any improvisation you had with Terry in any scenes, or Shelley Hack?"

Jill Schoelen: "I don't remember any specific improvisation in a large way during filming, but spontaneous moments, unexpected things, are always or should be a part of any performance I think, while on stage or screen, and there were definitely those moments with Terry, but I can't remember anything specific - just a regular part of performing with someone.

And no, Terry is by no means scary in any way as a person.  He was just a very nice man!"

Jerry: "With regards to 'There Goes My Baby', what was it like working with director Floyd Mutrux (who also helmed 'Dusty and Sweets McGee', 'American Hot Wax')? Did he allow any improvisation? Also, did you think the film would be shelved indefinitely when Orion went bankrupt - and when it was released five years later (if I am correct in my research), did you consider it a bitter disappointment that audiences did not respond to it? I think the advertising didn't help."

Jill: "Clearly the problems with Orion did not set up a scenario for 'There Goes My Baby' to have any real success.  No one heard of it as it was not advertised, and to my eye, it doesn't have the look or feel of a film that had a cohesive and thorough postproduction life.  Don't get me wrong - considering all that is stack up against it - the movie is quite good and stands on its own as it is!

Floyd is a trip (in a wonderful way).  He is very talented and has a GREAT eye for talent - that's a talent in itself.  I have worked with him again in a different capacity over the last years on a show, a rock and roll biography (a musical) that opens on Broadway in late April of this year called 'Baby It's You'.  It's fantastic show and Floyd is a master of this type of material.  He wrote it and is directing it I believe.  I haven't really been involved in a hands on way for a while, but I did spend some time working with Floyd on this show's journey and he is really very talented!  Go see the show in NY when it opens!!!!!  You'll love it!  I'll be there opening night!!!"

Jill in When a Stranger Calls Back

Jerry: "Who considered you for 'When a Stranger Calls Back', as I am sure it must have been a dream master class in acting of working with such pros like Charles Durning and Carol Kane. Also, was the mullet your idea or written in the script?"

Jill: "Well, I WASN'T the director’s idea for 'When a Stranger Calls Back'.  The casting director was bringing me in to read for it, and as Fred (the director) told me back while we were making the film, when he found out I was coming in to read, he asked them to cancel my appointment.  He didn't think I was right and had NO interest in seeing me, but the casting director told him, they could not cancel the appointment with that kind of late notice.  Not knowing any of this, I showed up for my appointment and read for Fred and the producers and as he told me later, I WON the part, strictly by the job I did with the audition.  I've always felt very proud of that, because he did not want me and I had to win him over, and did, and I am very happy I did, as I love this film.  And I love when fans write and acknowledge it and appreciate it the way they do.  If it is seen, it is usually well loved and gets great response.

As far as my hair, my real hair was short at the time, and as there is a time jump of like 5 years or something, the 'look' of Julia needed to be different, but different in a way reflective of a person who had had her experiences and wanted to hide and not bring attention to herself.  I think most women try and make the most how they look.  I think in Julia's case, she made the most of underplaying her looks and perhaps other parts of herself.  I think the look of her was perfect and realistic for her character."

Jill in A Little House on the Prairie: A New Beginning

Jerry: "I'd love to know your personal favorite film or TV role(s)."

Jill: "So here's my definitive list of my favorite movies and/or characters whether it be film or television.

'Little House in the Prairie' - I played a young blind woman, who was once one of Laura’s (Melissa Gilbert) best friends from when she was at the blind school.  In this episode she comes back as a young woman and falls in love with Victor French, who played the older gentleman 'Isaiah' on the show.  Because she was blind, age - all of that had no weight in her decision of love, but in reality it often can or should when the years are decades of difference.  Anyway, she was a beautiful character and to work on a show like that was a dream!  The episode was on the last season and called 'Love'.

How can I not mention 'DC Cab'?  It was my first movie, a studio film (Universal) with an outrageous cast (mostly comedians), a wonderful, artistic director, Joel Schumacher, and for me, the movie is not up there, but the experience of making the movie has great sentimental value to me.

I did a little film called 'Thunder Alley' and that film too has a big place in my heart, and I think is a very watchable movie.  More than that really - I say it that way because it might not be everyone's taste, but I think it's a very good film.  It's hard to make a good film without the means and this movie is good.  It has a lot of heart.  I think it's funny (as in strange in a good way) that the writer and director of 'Thunder Alley' is the writer of 'The Stepfather' remake.

From an experiential point of view, 'That Was Then...This Is Now', is a film I am very proud to have been a part of.  There is one scene in particular that I was in, that I am so glad to have on film.  SE Hinton, of course, wrote the novel this film is based on, and it's really cool to be part of something that has such value.  I mean both my children have had to read 'That Was Then...' in school.  She's a very important part of adolescent literary culture.  Regardless of adolescence, her books stand on their own and are quite brilliant.

As far as film, 'The Stepfather' is way up there as a favorite.  Every element of the film was very special to be a part of - the character, Stephanie, the script, the DP, John Lindely, the director, Joe Ruben, the entire cast, the producer, Jay Benson, the location - Vancouver, Canada, a fantastic production company, really everything was great!  And the film turned out great.  It's a very special film - unique and haunting and strangely funny - thanks to the writing and Terry's outstanding portrayal of 'Jerry'.

I loved making 'Babes In Toyland'. The final product I wish was better, in all honesty, but this is a HARD movie to be really good because the very premise of movie creates a hit or miss scenario for the filmmaking.  We had SO much FUN though.  There was a scene were Drew (Barrymore) and I laughed so hard, we couldn't get the scene down on film because we kept busting up and could only laugh.  You know that kind of laughter?  And the thing was, it was really quite dumb what we were laughing over, but it was hilarious in the moment!  I remember the director, Clive Donner, getting annoyed with us and our laughter and eventually being stern and after that, he got his take.  But we had so much fun - great experiences and trivia came out of that little movie.

Jill and Keanu Reeves in Babes in Toyland

For many of the same reasons as 'The Stepfather', 'When a Stranger Calls Back' is way up there as a favorite on film.  It was a deep experience playing Julia.  Some characters, like people, are deeper and more complex, and to portray her, required a vulnerability that makes one very sensitive, and that's difficult but extraordinarily rewarding.  When the work is solid, you don't really care, I mean you hope the movie is well received, but you really do the work for yourself - that's the rewarding part, and this film was that for me.

Loved making and being a part of 'There Goes My Baby'.  I got to sing 'Leader of the Pack' and that was really great!  And it's wonderful doing something period - from the '60's.

Jill in There Goes My Baby

Being a part of 'Billionaire Boys Club' meant a lot to me.  Same production company as 'The Stepfather', and it was a unique experience.  It was true story, not far from being out of headlines, and a mini-series, a successful one, and I was pretty much the only female in the movie.

My first real job was a pilot called 'Best of Times' and that too has a place in my heart.  It was not very good at all, but it was my first real job and I worked with Crispin Glover and Nicholas Cage (who was Coppola then), and we had fun. I think it might have been all of ours first job.  But that would be something to track down - just to us so young and singing and dancing - yes, it was a musical type show!!!

I can’t believe I forgot 'Phantom of the Opera' but I almost did.  I have such mixed thoughts and emotions about this movie.  It should have and could have been very, very good, but it simply had too much gore and was not a match with the beautiful music, cinematography, costuming – every other element was in place and all the blood and gore were gratuitous and discredited the film.  Robert Englund is a wonderful actor and really deserved this movie getting more attention, but as I’ve said, it lost its audience with the elements not syncing up – in my opinion.  But I loved making the film, and I think my favorite part was the beautiful costuming by John Bloomfield.  On a personal note, spending time with Robert and his wife Nancy was a wonderful time too.  They are lovely people!"

Jerry: "And what are your future plans? Broadway? Did I read that right? Keep singing? Whatever you feel comfortable sharing, of course."

Jill: "I think I like most to work on stage – at least the stage I’ve done.  'Pepper Street' was a musical I did for 5 years in Burbank, CA, and I played the main character, 'Spirit'.  She was a remarkable girl.  I got to sing and cry my heart out a couple times a week for years playing her.

Another great stage experience was playing Donna in 'HurlyBurly' with its playwright, David Rabe, directing, and working with fellow actors Sean Penn, Danny Aiello, Mare Winningham, Michael Lerner, and the late Scott Plank.    I feel most at home on stage.

I also did another show with Sean Penn that he wrote and directed called, 'The Kindness of Women'. This was special because this was his first public showing of his writing and directing and I was so flattered that he asked me to be a part of it, and I LOVED him as a director.  He is tops with working with actors. It’s special to be a part of something like that, and the whole experience was very dear!

The music I sing is the vocal jazz stuff.  I am passionate about the American Songbook, and about all the songs that need to be added into the historical side of the American songbook.  I plan to keep singing.  On the next CD I am going to record songs that I believe will become a historical part of the American Songbook!   Really looking forward in a crazy way to that recording!!!!  Hopefully, it will be sometime later this year."

Reviews of choice Jill Schoelen flicks  

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