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Your bullies came to the pub every day, spending your own money. (Part 1)
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"'Coffy' (1973) was one of the first black films to have what they call a 'crossover audience'. It showed that white audiences would want to see the black lifestyle and black characters onscreen."
--- Jack Hill
Full Excerpt:
"Interviewer: Were you nervous about making films in the blaxploitation genre?
Hill: When I was growing up in Hollywood High School, segregation was endemic. But musicians especially have this thing where they are able to overlook the whole racial thing. My friends and I used to go down to the jazz places where the black musicians were playing be-bop, and there was kind of a bond, and race wasn't an issue. But one day, this black kid called Ernie came into the music department, and the Head of the Department, a guy named Holmes, said to me, ''We gotta get this crow outta here. ''That was what I grew up with. But I felt like I personally had some sense of the black lifestyle, and I wanted to bring that lifestyle and some of the characters I knew into movies.
When I got the opportunity to do that, I really jumped at it. 'Coffy' (1973) was really kind of a key. AIP were making black films at that time but the term 'blaxploitation' hadn't been coined yet. They felt that they had a certain guaranteed black audience and they based their budgets on that.
'Coffy' (1973) was one of the first black films to have what they call a 'crossover audience'. It showed that white audiences would want to see the black lifestyle and black characters onscreen. The film helped these things enter the mainstream and I've always been proud of the fact I was able to contribute to that.
Interviewer: 'Coffy' (1973) was the film that started my love of blaxploitation films.
Hill: I was fortunate that Larry Gordon was different from most studio heads who seem to have nothing but contempt for the audience. He supported me against the suits that just wanted sex and violence. We wanted to get something better into it."
(Jack Hill's interview with Paul Rowlands, 2018)