Jill Rachel Morris is an Executive Producer on LAbyrinth (directed by Brad Furman, starring Johnny Depp) and The Infiltrator (directed by Brad Furman, starring Bryan Cranston). She has been a consulting producer with The Weinstein Company (projects include overseeing the launch of the Finding Neverland U.S. theatrical tour, as well as production script work on the film The Current War), First Look Media, Good Films, and Dan Wigutow Productions. Jill helped to found and was the Executive Vice President at producing/financing entity Indian Paintbrush. While there, among many projects, she co-produced the Duplass Brothers’ Jeff, Who Lives at Home; she also forged a creative relationship and an overall deal with writer/director Jason Reitman. She served as Senior Vice President of Production at Focus Features, where her films included Martin McDonagh’s directorial debut, In Bruges. Prior to her time at Focus, she spent 5 years with Nina Jacobson as Vice President of Production at the Buena Vista Motion Pictures Group (Disney). She also developed features with Keri Putnam at HBO Films. Before switching to film, she worked in the theater as a dramaturg, artistic associate, and creative producer with companies including the Sundance Theatre Lab (where projects included the Steven Sater/Duncan Sheik musical adaptation of Spring Awakening); The New Group; Juilliard; Naked Angels; Malaparte (Ethan Hawke, Artistic Director); New York Stage & Film; Roundabout Theatre Company; the WPA; the Nederlander Organization, and CenterStage (Baltimore, with Irene Lewis), where she also created and curated the performance series OFF CENTER. For two seasons, she was an artistic director of the Yale Cabaret. She is a lecturer at the School of Visual Arts (NYC) and has lectured at Columbia University, NYU’s Tisch School of the Arts, NYU’s Department of Special Programs, The New School for Drama, and Emerson College. Jill is a graduate of Harvard College and David Geffen School of Drama at Yale.
Jill Rachel Morris
Lecturer in Dramaturgy and Dramatic Criticism
