The production of The Big Doll House was marked by an unusually public creative tug‑of‑war inside Roger Corman’s newly founded New World Pictures. James Gordon White had an earlier draft that Corman purchased for Jack Hill to direct, but story editor Frances Doel, Charles S. Swartz (Stephanie Rothman’s husband) and Rothman herself pitched alternatives and, according to accounts, ‘steamrolled’ the project into a new direction. Rothman — who had just scored a hit for New World with The Student Nurses — later claimed Corman wanted her to direct the picture; she declined and Corman reverted to hiring Jack Hill. The revisionist process culminated in Don Spencer being hired to write a new screenplay, only for Hill to complain he hated Spencer’s script, extensively rewrite it and inject broad humour to counter what he considered a preposterous story.
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AI concept artworkArchive Record · 1970s
Behind-the-Scenes Power Struggle: Jack Hill, Stephanie Rothman and the New World Script Wars
The Big Doll House / Jack Hill & Stephanie Rothman / 1970s
The production of The Big Doll House was marked by an unusually public creative tug‑of‑war inside Roger Corman’s newly founded New World Pictures. James Gordon White had an earlier draft that Corman purchased for Jack Hill to direct, but story editor Frances Doel, Charles S. Swartz (Stephanie Rothman’s husband) and Rothman herself pitched alternatives and, according to accounts, ‘steamrolled’ the project into a new direction. Rothman — who had just scored a hit for New World with The Student Nurses — later claimed Corman wanted her to direct the picture; she declined and Corman reverted to hiring Jack Hill. The revisionist process culminated in Don Spencer being hired to write a new screenplay, only for Hill to complain he hated Spencer’s script, extensively rewrite it and inject broad humour to counter what he considered a preposterous story.
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