2024 Woodstock Film Festival: A Conversation with Film Writer and Director, Jill Campbell

INSIDE+OUT meets with writer and director Jill Campell to discuss her film Beyond the Gaze, a new documentary showing at the 25th Annual Woodstock Film Festival, which tells the story of pioneer Jule Campbell, who died in 2022 at 96. Jule was the founding editor of the Sports Illustrated “Swimsuit Issue” and transformed a once struggling magazine into a publishing powerhouse. As a mentor to many, she paved the way for future generations by challenging antiquated and biased gender norms while also confronting accusations of objectification during her 32-year tenure. Though her original vision was to celebrate the models’ beauty and create beautiful imagery in exotic locations, she would have to fight indefatigably to protect the models from objectification by editors, photographers and the public.

The film reveals Jule as a resilient and creative trailblazer who changed how women were seen in the media, showcasing their intelligence, personalities, and beauty. Beyond the Gaze goes beyond Jule’s story. It explores the evolution of feminism and fashion alongside the changing societal views on female bodies in swimsuits. The documentary questions the continued relevance of Jule’s creation in today’s world, emphasizing empowerment and inclusion. Ultimately, the film is a powerful celebration of women supporting women. Campbell’s mentorship and dedication to her collaborators serve as an inspiration for generations, uplifting and encouraging the audience.

Don’t miss out on the opportunity to see this film on a big screen @beyondthegazefilm | website. Book your tickets now for what will surely be a sold-out performance!

Let’s get to know Jill Campbell…

INSIDE+OUT: In her lifetime, Jule Campbell saw much progress in terms of women’s rights and equality. Does she speak of this in your film?

Jill Campbell: Jule felt that women have come a long way and have “a voice now that they never had.” For example, in the film, Jule speaks to the toxic masculinity prevalent in the male-dominated sports journalism world of the 1960s and 1970s that she experienced and how it is a stark contrast to what women are experiencing in today’s workplace. Her early days at Sports Illustrated were defined by a blatant chauvinism that would be wholly unacceptable in modern times. Unlike employees today, Jule could not turn to her HR department for complaints. She was forced to navigate an often sexist environment with ingenuity and resilience. For women like Jule, workplace harassment and discrimination were commonplace but rarely quantified. She was a pioneer, paving the way for future generations by challenging gender norms and breaking down barriers. Basic demands, like asking for raises and equal pay, were met with resistance from her male supervisors. In the film, Jule recalled a supervisor telling her, “You have a husband,” in response to her asking for a raise. Jule’s life and her story are examples and lessons to younger generations of women on how to stand their ground and accomplish their goals in a sexist or toxic work environment. Utilizing archival footage, photographs, and personal notes, we actualize what Jule experienced. It was important to me to paint a vivid picture for the viewer of the world in which Jule was operating, especially for younger women, so they could understand the extent of what Jule was up against.  When we study the history of the Sports Illustrated “Swimsuit Issue,”  it’s quite impressive that it was a woman at the helm of one of the most successful magazine issues in American publishing history. As Stacey Williams aptly noted in the film, “Footballs were flying through the air and Jule was being sexually harassed, but meanwhile, guess who created the billion-dollar franchise?”

Jule worked towards creating a safe atmosphere for all the women she worked with. Did she have any advice for younger women about how to navigate?

We filmed with Jule towards the end of her life when she was in her 90s, and the pearls of wisdom she shared were prolific. I hope to eventually share them all, but I keep coming back to this one old-school yet modern quote that ended up in the film and which I do think younger women and all women can consider: “Women should do what they want to do, but don’t do it with anger, do it really quiet, maybe a little sneaky, why not? As long as it’s not dishonest. Just be kind of mysterious; if something comes up, say, I am going to think about that, I’ll hold on to that. You don’t have to tell everyone what you are thinking, who you are, or why you did what you did.” Jule was about “less is more” and she was very strategic. And our present world of more is more, I found this refreshing.

As an accomplished female filmmaker, you, too, must have faced your own battles in what was traditionally a male-dominated field. Can you share how that may have affected your journey, your work, and the kinds of projects you have taken on?

When I started in the film business in 2006, the thing that irked me was being “mansplained” to.  As if I couldn’t possibly figure out the technical aspects of filmmaking, when really, dude, it is not that difficult to learn. It inspired me to go to grad school, concentrating on documentary filmmaking. I wanted to learn the history of documentaries as well as specific technology so that when “mansplained” on set, along with creative input, I could respond with my knowledge of frame rates, camera capabilities, the pros and cons of various lenses and software, etc. It was the greatest and most empowering decision I made, and I made it in my late 40s. It is also where I learned how to edit, which was freeing and has saved tons of money for my production.

As a female director, I find it incredibly empowering to assemble my team and collaborate with individuals who share my vision. In filmmaking, your team is everything, and I’ve learned from past mistakes to be more intentional in my choices. I’m fortunate to work with male collaborators like Rob Lyons, Jonathan Gray, and Nelson Walker, who understand and appreciate the value of a strong female leader. Like Jule, I’m passionate about supporting and uplifting women in my industry. I’ve been fortunate to have many influential older female mentors in my life, and I strive to pass on that knowledge to younger women in my orbit. By fostering a supportive and inclusive environment, we can continue to empower women in filmmaking and create a more equitable industry. Given the sensitive and feminist nature of Beyond the Gaze, it was essential to collaborate with female professionals. I worked with talented female producers like Sharon Cooney Shuttleworth, cinematographers, audio mixers, production assistants, and publicists. Ensuring female representation on every crew was a priority. I also collaborated with brilliant female editors Jill Woodward and Toby Shimon, and the prolific composer Miriam Cutler, whose feminine, melodic, and fun score perfectly complements the film. My goal is to focus on female-driven narratives and amplify women’s voices and stories. While I’ve explored subjects with male protagonists, like Kenny Anderson in Mr. Chibbs, I’ve always approached them from a woman’s perspective, adding a unique dimension to the story. My approach, which avoided fanboyism, fostered trust and allowed Anderson to open up.

Many celebrity models star in this film. Can you share any insights one or two may have shared that surprised you in the interview process?

I would not say I was surprised but more inspired by these women and their mature reflections on their participation in what was considered an iconic and controversial magazine that was part of the fabric of American culture. Every news network covered this issue, especially when the cover was announced in February, and we included footage of this in the film. These ladies became immediate superstars when appearing in the issue, and yet, it was deeply criticized and protested against by various feminist groups. Jule’s impact on these women was evident in their immediate agreement to participate in the film. Grateful for her mentorship and support, they invited me into their homes to film with them. Elle Macpherson and Carol Alt visited Jule at her family farm, where we filmed touching scenes from their reunions.  Each woman offered insightful reflections on what Jule and the “Swimsuit Issue” meant to them. Elle Macpherson knew early on that she was going to capitalize on the exposure of being in Sports Illustrated as a launching pad for her business endeavors. She understood and appreciated the opportunity that Jule gave her and went on to create several successful businesses.
Kathy Ireland, who considers Jule, her mentor, discussed wanting to be on the other side of the camera and how she would discuss business ideas with Jule.  In 2012, Forbes Magazine placed Kathy on its cover titled “Super Model Super Mogul.” In 2016, Kathy Ireland Worldwide had more than two billion annual merchandise sales. I was very curious about what each woman felt about the controversy surrounding the issue. Paulina Porizkova discussed her thoughts on objectification versus celebrating the female body.  She questioned the dichotomy, wondering if it “could be both?” She also discussed the liberating aspects of social media, which she felt allowed individuals to control their narratives. She spoke about not having that control when she was a younger model in a world where social media did not exist. From a mature perspective, she embraces her autonomy and does not seem to care if she defies societal expectations. Stacey Williams advocated for women’s rights and challenged the patriarchal “Madonna/Whore” dichotomy. She felt “women can be sexual, but you don’t get to sexualize us.”

Was it difficult sharing the authentic story of someone you are related to without wanting to betray them or their privacy?

Our four-year filming journey with Jule, from the age of 93 until her passing at 96, was a deeply personal experience. While she never saw the final cut, it was crucial to me that viewers understand her approval of the project. Including a scene of her discussing her participation was a testament to her enthusiasm. When Jule retired in 1996, she had planned on writing a book, which she had never done. She stored thousands of photos, slides, notes, and archival films from her life and career. It was a documentarian’s dream that, as her daughter-in-law, I got full access to. My partner, co-producer Gregory Gerhard, and I spent four years digitizing this material, saving it from possible disintegration in the chicken sheds on her farm where she was storing them.  Filming Jule’s life story brought Jule and me closer. We turned the television off and her memories on. She gained agency in being able to share her life story from her nonagenarian perspective. It was the most beautiful and rewarding filmmaking experience of my life.

During the editing process, I often consulted with the editors to ensure that the film remained true to Jule’s spirit. Since Jule had passed away before the completion of the film, I would ask myself and the editors to consider if we were going over the line in terms of Jule’s privacy and integrity, and if she were alive, how would she feel about this? While I don’t believe in giving subjects approval of cuts, I do think that creating a biographical documentary is a collaboration between filmmaker and subject. There must be a considerable amount of trust in the relationship.  I involved my adult children, Hannah and Graham, as consulting producers and would send them cuts during the edit. As anyone who has adult children might recognize, they can be your most honest critic. My kids don’t hold back; if there were things they thought should not be in there, they had no problem telling me. They also were diligent with the material, and at times, they would tell me to put things back in that I had cut.  Many times, I fought for the right for the material to be included. Still, ultimately, their objectivity as Jule’s grandchildren allowed them to provide honest feedback and ensure that the film remained respectful of her legacy.

What is your favorite pearl you personally gleaned from creating this project?

Jule’s commitment to fostering a supportive and inclusive environment for women was instrumental in the “Swimsuit Issue’s” enduring popularity. She nurtured the careers of some of the most iconic models of the era. Cheryl Tiegs, Christie Brinkley, Kathy Ireland, Tyra Banks, Elle Macpherson, Paulina Porizkova, Stacey Williams, and countless others owe their success in part to Jule’s mentorship. It’s intriguing to speculate whether the “Swimsuit Issue” would have achieved the same level of success under male leadership. Jule’s strong, stubborn, and protective nature undoubtedly played a crucial role in shaping the magazine’s identity. Her ability to navigate the delicate balance between beauty and objectification while maintaining her moral compass resulted in stunning photographs. Jule was committed to lifting the women around her, and the women responded to that with their trust and loyalty. By sticking to her moral compass and her artistic integrity, she created a tremendous and artful body of work. She didn’t personally care about money or business success.  She had much more of an artist’s sensibility. She was about the perfection of creating the perfect shot, which meant finding the ideal location, bathing suit, photographer, and model and then allowing the magic to happen. She never sold out, and as she says, “I never showed anything I didn’t like.” These are tremendous lessons for me as a female filmmaker.

How often do you participate in Film Festivals, and what does it mean to have an outlet such as the Woodstock Film Festival?

I participate in film festivals as often as I can. Now that fewer audiences are going to see movies in theaters, festivals are vital for allowing independent filmmakers to share their work with the public. As a filmmaker, they are our reward for all the hard work that goes into creating a feature film.  As a Hudson Valley resident, I am over the moon that Beyond the Gaze will have its World Premiere at Woodstock. I have been attending the festival for years, have seen many influential films, and have made many valuable connections at their events and panels.  Woodstock, to me, is the last of the “truly indie” festivals, and we are a truly indie film, so we are perfectly matched. I can not wait to share Jule’s story with the artistic and intelligent audiences that attend the festival.

Photos courtesy of Jill Campbell

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About Jill Campbell

Jill Campbell began her career working at NYC’s Public Theater. She is a produced playwright with work appearing at La MaMa, Mabou Mines, the Actors Studio, and on the London and Dublin stages. Jill’s produced films have appeared on American Masters, Netflix, Amazon, Apple TV, Peacock, Kanopy, Urban Movie Channel and at film festivals worldwide. Jill directed and produced Mr. Chibbs (DOC NYC, Cargo Films), a Village Voice Critics’ Pick, and SEAT 20D (First Run Features). Beyond the Gaze: Jule Campbell’s Swimsuit Issue is Jill’s third and most personal feature documentary. She received an MFA in documentary film from Hunter College.

About the Woodstock Film Festival

Founded in 2000, the Woodstock Film Festival (WFF) is a not-for-profit 501(c)(3) organization that nurtures and supports emerging and established filmmakers, sharing their creative voices through an annual festival and year-round programming to promote culture, diversity, community, educational opportunities, and economic growth.

WFF provides innovative mentoring and inspired educational programs benefitting filmmakers, students, and diverse audiences while serving as a powerful cultural and economic engine for New York’s Hudson Valley and beyond. Such efforts have consistently resulted in the festival being hailed as one of the top regional film festivals worldwide. The Woodstock Film Festival is an Oscar®-qualifying festival in the short film categories – Live Action Short Film, Animated Short Film, and Documentary Short Film.

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Now in its 25th year, 2024 promises to be as exciting as ever! 2024 Lineup and Tickets HERE.

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