Recollections From The Hill
Personal memories and behind-the-scenes recollections from the cast, crew, writers and production staff of Hill Street Blues. A number of the most personal recollections connected to the series, involve cast members whose lives or careers ended too soon, yet who clearly left lasting impressions on the people around them.
About Trinidad Silva
“Prior to his accident Trini had just completed working on a television pilot (Home Free) that I helped create and produce in 1988 for NBC. He was magnificent in it, as you probably can imagine because he was such a fine actor.
His wife and his son survived the automobile accident. Trini, I believe, was on the verge of becoming a big star.”
Michael Warren — Actor (Officer Bobby Hill)
About The Theme Music
“When I was asked to come up with the music for the series, I went to the studio and watched the first episode. Within seconds I knew this was something special, and that ending with Renko and Hill going down in slow motion was just incredible.”
“Afterwards I went to a meeting with Bochco and some of the executives. I had an idea in my head for something dramatic — sort of down and dirty — but then Hoblit said he wanted something to accompany an idea he had for an opening garage door onto a desolate inner-city street, with a police car speeding out of it.”
“Then Bochco asked me what I thought and I suggested doing something opposite to that — light, but conveying the non-stop excitement that would shortly follow.”
“I went home, which was nearby, and within half an hour I had written it. I called Bochco and he and Hoblit came over to hear it, and instantly we all knew we had found what we wanted.”
“I really don't know where the music came from, but I am grateful I get the chance to create wonderful art that can be laid on someone else’s art.”
Mike Post — Composer
“Within half an hour I had written it.”Mike Post on composing the Hill Street Blues theme
About Mick Belker
“I had known Steven Bochco since we were at Carnegie Tech together and when he got the commission for Hill Street Blues he said he could get me a part in it. That part was John LaRue, but when I read the script I could see the potential for Belker.”
“What interested me about him was his vulnerability — or at least the potential for vulnerability. Although he was this super tough guy on the outside, I visualised him as lonely and hurt on the inside and fortunately for us, the writers had the same idea.”
“So I got Belker and left the door open for Kiel to LaRue.”
People often ask if the cast knew how good the series was at the time.
“You could not read that script, with so much going on, and not know this was something unique. There was a feeling of responsibility many of us felt towards Steven Bochco and Michael Kozoll — to do the best we could for them and for the script.”
Bruce Weitz — Actor (Mick Belker)
“You could not read that script and not know this was something unique.”Bruce Weitz reflecting on Hill Street Blues
About Joe Coffey
“I had moved out to Los Angeles after my NFL career was over — it was 1978 — and I had developed a bit of an interest in acting. Prior to my retirement from football I had worked in an acting class in New York, so I suppose you would not call it a conventional route into the profession.”
“When my NFL career ended, I kind of knew acting was something I wanted to pursue, so I moved to Hollywood, got an agent and started trying to get parts.”
“My first sort of big break was on Laverne & Shirley, where I appeared in thirteen episodes. When they did not renew my contract, I became a free agent again and auditioned for Hill Street Blues.”
“When I started, I was only supposed to be doing a guest spot — a four-episode arc at the end of the first season. The character of Joe Coffey was scheduled to die in the final episode.”
“But everything sort of gelled. The character worked well with everyone else, and they decided to keep me alive.”
Ed Marinaro — Actor (Officer Joe Coffey)
“The character of Joe Coffey was scheduled to die in the final episode.”Ed Marinaro on unexpectedly staying with the series
About The Cast
“I worked as a lighting technician at CBS Studio City during the filming of most episodes of Hill Street Blues. In all my years in the industry, I cannot remember a better cast to work with.”
“Unusually, there were no egos and very few attempts to steal another actor’s scene. I can even remember cast members giving spontaneous applause after a difficult performance was pulled off by one of the group — and on the odd occasion being moved to tears by a storyline.”
“One scene that particularly stayed with me involved Veronica Hamel taking Barbara Bosson in her arms, filmed incidentally in one moving take.”
“There was also a great deal of comedy behind the scenes. Some of the cast — and especially one of the writers (no, I am not saying which) — loved practical jokes, sometimes causing delays or retakes to the annoyance of the on-set accountant.”
“I think most people can see that camaraderie in the finished programme and remember that, despite all this, most episodes were filmed in less than a week.”
“I know one thing for sure — I will never work with a crew like that again.”
Joe Califano — Lighting Technician, CBS Studio City
“I will never work with a crew like that again.”Joe Califano remembering the Hill Street set
Many recollections offer snapshots of life on the production. Occasionally, however, there is the opportunity to sit down and hear the story directly from someone who lived it.
Conversation With Joe Spano
In September 2013, Hill Street Blues actor Joe Spano — best known to viewers as Henry Goldblume — kindly met webmaster Andy Lambert for coffee at the Corner Bakery in Calabasas Commons, California. What followed was not so much an interview as an easy conversation about theatre, television, Steven Bochco and the strange unpredictability of a life spent acting.
Andy Lambert with Joe Spano at Calabasas Commons, California — September 2013
Over coffee, conversation quickly moved from repertory theatre and Steven Bochco to the unexpected legacy of Hill Street Blues, and how difficult it is to predict what audiences will ultimately remember.
HSB.net: Hi Joe, and thank you for taking time out of your schedule to talk to us.
Joe Spano: When Nancy White — Robert Hirschfeld’s widow — told me about your efforts in creating the website, I thought it would be good to meet and find out more about it.
HSB.net: Nancy has been incredibly supportive of the website, but of course you must have known both Robert and Nancy very well.
Joe Spano: Yes, Bob and I were friends for a long time before his tragic death because, of course, we both came up through repertory theatre — as did quite a number of the cast. Many of us first heard about the original auditions through people we knew.
HSB.net: Ramona Silipo once said you are never happier than when doing theatre — especially projects like your one-man show about Buckminster Fuller?
Joe Spano: (laughing) He is not wrong. When you are involved with film or television and are doing a scene, there is no real feedback. You know yourself whether something felt right, but your fellow actors are busy concentrating on their own work. Unless it is a very special scene, you are not going to get much response.
In theatre everything feels much more intimate. There is a stronger connection and instant gratification from the audience.
“In theatre everything feels much more intimate.”Joe Spano reflecting on acting and performance
HSB.net: When did you first meet Steven Bochco? Was it during Paris?
Joe Spano: That was the first time I actually worked with him. Paris was another production where several future Hill Street Blues cast members also appeared. Michael Warren was a regular and I think Kiel Martin, Taurean Blacque, Michael Conrad and James Sikking all appeared at different times. Michael Kozoll, of course, was also involved.
HSB.net: Is it true you originally auditioned for Renko?
Joe Spano: Not exactly. Renko was certainly the role I went in for, but the characters were still fairly open at that stage. I would have enjoyed playing Renko, but in the end I was given Goldblume.
Henry is not me — but I am an actor, and I shaped him the way I wanted where I could.
HSB.net: Was there any indication inside the production that the series would become such a success — and perhaps more remarkably still be watched around the world decades later?
Joe Spano: Not initially, because we were all working on our own small pieces and you never really see the whole thing. It was different once you watched the finished programme.
“It was clearly unlike other television of the time — although of course that guarantees nothing. I remember thinking perhaps a couple of seasons. As time went on, though, it became obvious there were some very clever people involved, and I remain proud of my contribution.”
“I remain proud of my contribution.”Joe Spano reflecting on Hill Street Blues
HSB.net: I sometimes get the impression some cast members are reluctant to look back on the show.
Joe Spano: (smiling) That is actors for you. Whatever you are doing at the moment tends to feel like the most important thing in your life, and naturally people want to talk about that.
Some actors dislike looking backwards, but I have always been happy that Goldblume helped make a good living for me while it lasted — and I will be content if it remains one of the things people remember me for.
HSB.net: Did the actors influence story direction?
Joe Spano: More as time went on. Because the writing was so strong, there was rarely reason to say, “Goldblume would never do that.” But I think all of us contributed to expanding our characters to some degree — though naturally some actors wanted to expand more than others.
HSB.net: One important question — what happened to the bow ties?
Joe Spano: (laughing) I was never really a bow tie man, but I think there may still be one or two hanging around somewhere at home.
HSB.net: What comes next?
Joe Spano: Much of the same, hopefully. I am preparing for a production of The Sunset Limited at the moment and there is always television around the corner.
HSB.net: Joe, thank you again for the conversation.
Joe Spano: My pleasure — and I promise I will put in a good word with anyone from the cast I still see.
“I will be content if Goldblume is one of the things people remember me for.”Joe Spano — Calabasas, California, 2013
Joe Spano’s reflections on Hill Street Blues offer a rare glimpse into the making of the series and the collaborative atmosphere behind one of television’s defining police dramas.
A THANK YOU — AND AN INVITATION
If you were involved in Hill Street Blues in any way — whether cast, crew, production staff, writer, technician, contributor or friend of the show — and would like to share a recollection, no matter how small, the webmaster would be delighted to hear from you.
Every memory helps preserve a little more of life on the Hill.
The webmaster would also like to warmly thank everyone who has already contributed recollections, stories and memories to this growing archive of Hill Street Blues.
Many of the moments recorded here might otherwise have been forgotten — small memories, conversations and observations that together help tell the human story behind one of television’s most remarkable productions.