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Jonathan Haze

Jonathan Haze (April 1, 1929 – November 2, 2024) was an and renowned for his roles in low-budget and films, most notably as the hapless florist Seymour Krelboyne in Roger Corman's 1960 The Little Shop of Horrors. A staple of Corman's repertory company, Haze appeared in nearly two dozen of the producer-director's films during the and , often portraying neurotic everymen and oddball characters in quickie productions that became enduring favorites among genre enthusiasts. Born Jack Aaron Schachter in , , to Schachter, an Austrian immigrant watchmaker, and Elizabeth Richman Schachter, Haze was a cousin of jazz drummer . After hitchhiking to in pursuit of an acting career, he took a job at a Hollywood gas station in 1952, where he was discovered by screenwriter Wyott Ordung. Ordung cast him in a small role in the Corman-produced (1954), marking Haze's film debut and the start of a prolific collaboration with Corman, who was just three years his senior. Haze's early Corman credits included supporting parts in The Fast and the Furious (1954), Swamp Women (1956), Gunslinger (1956), The Day the World Ended (1955), Not of This Earth (1957), and Carnival Rock (1957), showcasing his knack for injecting humor and vulnerability into pulpy narratives. His breakthrough came with , a shot in two days on a shoestring budget, where he improvised much of the film's quirky dialogue alongside Jack Nicholson's cameo as a masochistic dental patient. Later highlights in the Corman oeuvre featured him in The Terror (1963), a Gothic horror with , and X: The Man with the X-Ray Eyes (1963), alongside . Beyond Corman's orbit, Haze served as production manager on Haskell Wexler's socially conscious drama (1969), and made sporadic acting appearances in later years, such as a cameo in Corman's (1999). He also worked behind the camera as a . Haze died at his home in at the age of 95; he was survived by his daughter, Rebecca Haze, who confirmed his passing. Celebrated as a B-movie , his performances in Corman's fast-paced productions helped cement the director's reputation for launching talents and creating influential genre cinema on minimal resources.

Early Life

Childhood and Family

Jonathan Haze was born Jack Aaron Schachter on April 1, 1929, in , , to Harry Schachter, a and jeweler who had immigrated from , and Elizabeth Schachter (née Richman), known as Betty. A notable family tie was Haze's relation as a cousin to the renowned drummer and bandleader , whose career in and music brought an element of into the extended family dynamic. At a young age, Haze worked as a for Rich's performances, gaining peripheral exposure to the entertainment world through tasks like setting up equipment and assisting backstage, which offered early glimpses into the without formal involvement. This familial connection and nascent interest in later influenced Haze's decision to pursue , prompting him to hitchhike to as a young adult.

Move to California and Initial Jobs

After spending the summer in and gaining initial experience in stage production on the East Coast, Jonathan Haze, born Jack Aaron Schachter, hitchhiked from to in the early to pursue his aspirations in and film. Upon arriving in , Haze took on menial jobs to support himself, including working as a gas station attendant in in 1952, where he pumped gas while hoping for opportunities in the entertainment industry. This period marked his transition from behind-the-scenes theater work to the competitive world of show business, though acting roles remained elusive at first. Prior to his relocation, Haze had begun his professional involvement in entertainment through family connections, assisting in stage production for his cousin, the renowned drummer . He advanced to the role of stage manager for performer , serving in that capacity for two years and gaining valuable experience in live show logistics. During this formative phase in , Haze adopted a new professional name to better suit the industry, initially appearing as Jack Hayes before settling on Jonathan Haze, which he used for the remainder of his career.

Film Career

Early Roles with

Jonathan Haze's entry into the film industry came unexpectedly in 1954 when he was working at a gas station in . Wyott Ordung, an aspiring , spotted Haze and cast him in a small role in Monster from the Ocean Floor, 's debut production as a filmmaker—a low-budget about a threatening a coastal town. This opportunity marked Haze's screen debut, transitioning him from odd jobs in to acting in Corman's rapidly expanding stable of quick, inexpensive genre pictures. Building on this initial break, Haze appeared in several more Corman productions in the mid-1950s, often in supporting roles that showcased his versatility and growing rapport with the director. In Swamp Women (1956), a gritty directed by Corman, Haze played a minor character while also serving as fight coordinator, training the female leads in stunts to keep costs low. He followed with parts in the alien invasion thriller Not of This Earth (1957), where he portrayed Jeremy Perrin, the alien's chauffeur and assistant, entangled in extraterrestrial intrigue, and Carnival Rock (1957), a rock 'n' roll drama that highlighted his ability to handle ensemble dynamics in fast-paced narratives. These roles solidified Haze's position within Corman's efficient filmmaking circle, where actors were valued for their reliability and willingness to multitask. Over the course of his early career, Haze collaborated with Corman on nearly 20 films, becoming a staple in the director's ensemble of trusted performers who helped churn out B-movies for drive-ins and double bills. This phase represented a pivotal shift for Haze, moving from his prior experience in and stage management—such as assisting —to the demands of screen acting, where he honed skills in and endurance amid Corman's signature low-budget constraints.

Breakthrough in Little Shop of Horrors

In 1960, Jonathan Haze was cast in the lead role of Seymour Krelboyne in Roger Corman's , a low-budget that became a defining project in his career. Haze portrayed the awkward, downtrodden florist's assistant working in a rundown shop owned by Gravis Mushnik, a role that showcased his talent for playing nebbish everyman characters. The film, written by , follows Seymour as he discovers a mysterious named Audrey Jr., which thrives only on human blood, leading him into a spiral of increasingly desperate murders to keep it alive. This blend of , , and elements highlighted Haze's comedic timing amid the film's premise, with Seymour's reluctant villainy serving as the narrative core. The production exemplified Corman's reputation for rapid, economical filmmaking, shot over just two days in late December 1959 on a shoestring budget of approximately $22,500, utilizing leftover sets from a previous Chaplin Studios project and two cameras to capture overlapping action. Filming ran from 7:00 a.m. to 9:00 p.m. each day, with exterior shots handled by Griffith as a second-unit director, allowing Corman to complete the feature between Christmas and . , the rushed schedule fostered improvisation, such as in the flower shop robbery sequence where Griffith and co-star ad-libbed dialogue to heighten the chaos. also shared memorable interactions with a young , who appeared in a brief but memorable role as the masochistic dental patient Wilbur Force; Nicholson, then 22, auditioned for a part intended for a 40-year-old and improvised much of his scene's eccentric energy, enjoying the pain of the procedure in a darkly twist. These spontaneous moments contributed to the film's loose, energetic style, drawing on the Corman stock company's familiarity. The film's quick production and cult appeal immediately boosted Haze's visibility within the horror genre, establishing him as the face of its quirky anti-hero and leading to enduring associations with the role throughout his life. Released by The Filmgroup, gained a devoted following through midnight screenings and television reruns, cementing its status as a B-movie classic and marking Haze's performance as his career pinnacle. Despite the modest initial reception, the role's blend of and resonated, influencing later adaptations and ensuring Haze's legacy in low-budget .

Other Key Films and Collaborations

Following his portrayal of Seymour Krelboyne in (1960), Jonathan Haze continued his association with through several genre films in the early 1960s. In (1963), Haze played Gustaf, a reclusive villager and servant to the enigmatic von Leppe (), in this atmospheric horror tale loosely inspired by . The film, which also featured an early leading role for as Lt. André Duvalier, was notorious for its chaotic production; Corman shot it in just four days using leftover sets from (1963) and (1963) to capitalize on Karloff's limited availability under his contract, resulting in a disjointed narrative stitched together by multiple directors including and . That same year, appeared in another Corman production, X: The Man with the X-Ray Eyes (1963), as a in a supporting role during a chaotic street preaching scene. Directed by , the starred as Dr. James Xavier, a whose experimental grant him but lead to madness and tragedy. 's brief but memorable contributed to the film's status for its psychedelic effects and exploration of , filmed on a modest budget that emphasized practical visuals over spectacle. Haze's mid-1960s work further solidified his ties to Corman's low-budget empire, including appearances in films like (1966), where he portrayed a artist amid a convoluted plot involving director . His involvement extended to the "Poe Cycle" of adaptations, primarily through acting in The Terror and production assistance on (1962), which helped sustain the series' gothic momentum. These roles, often alongside emerging talents like Nicholson in multiple projects, cemented Haze's niche in B-movies, where he embodied quirky everymen in and sci-fi, contributing to Corman's reputation for rapid, innovative filmmaking on shoestring budgets.

Later Career

Post-Corman Acting Roles

Following his prolific collaboration with in the 1950s and 1960s, Jonathan Haze's acting output significantly diminished, with fewer than a dozen roles across the subsequent decades. Transitional appearances in late-1960s productions included his portrayal of Boris Chapman, a minor gangster, in the historical crime drama The St. Valentine's Day Massacre (1967), directed by David Lowell Rich. This film marked one of Haze's final credits in a major studio release before his focus shifted away from frequent onscreen work. In the and , Haze took on sporadic guest spots and small parts in low-budget films and television, reflecting a career pivot toward production and other pursuits. Notable among these was his role as the Dapper Man, a brief but memorable character, in the action thriller (1982), directed by Gary A. Sherman. Such appearances were infrequent, often limited to supporting or uncredited capacities in genre projects. Haze's later acting credits in the 1990s and 2000s underscored his enduring connection to independent cinema. He appeared as Ski in the comedy Invisible Mom II (1999), directed by Fred Olen Ray, had a cameo as Detective #1 in the serial The Phantom Eye (1999), produced by Roger Corman, and featured in the short film Nobody Smiling (2010). His final acting credit was in 2010, after accumulating approximately 20 film and television credits, predominantly in science fiction, horror, and exploitation genres.

Producing and Writing Contributions

Jonathan Haze contributed to numerous low-budget films in various behind-the-camera capacities during the 1950s through the 1970s, often in collaboration with and other independent producers, accumulating around 10-15 non-acting credits that frequently overlapped with his acting roles. His early production involvement began with serving as production manager on the The Beast with a Million Eyes (1955), directed by David MacDonald and produced by , where he helped manage the tight schedule typical of releases. In the early 1960s, Haze expanded into writing, penning the screenplay for the Invasion of the Star Creatures (1962), also known as Invasion of the Saucer Snatchers, a B-movie about invaders kidnapping women, which showcased his knack for blending humor with genre tropes in low-budget productions. He also took on production management duties for adaptations like (1962), directed by , contributing to the film's atmospheric Gothic horror elements through on-set coordination. By mid-decade, Haze served as production manager on The Terror (1963), another Corman project featuring and , where his experience helped navigate the film's experimental two-week shoot involving dual directors. Transitioning to more hands-on directing support, Haze worked as on The Born Losers (1967), the first film directed by T.C. Frank, assisting with action sequences and biker gang logistics in this precursor to the vigilante genre. Later that year, he managed production for Childish Things (1969), a starring Don Murray, emphasizing themes of personal growth amid rural settings. Haze's production roles extended into the 1970s with credits as production manager on Haskell Wexler's Medium Cool (1969), a semi-documentary exploring 1968 Chicago unrest, where he aided in blending fictional narrative with real footage. He also produced Another Nice Mess (1972), a homage directed by Bob Morrison, contributing to its comedic reenactments within a modern context. These efforts highlight Haze's versatility in supporting the era's independent cinema, often in unit management and assistant directing positions on B-movies and exploitation films. In his later years, Haze worked as a .

Personal Life

Marriage and Family

Jonathan Haze was married to costume designer Roberta Keith from the mid-1960s until their divorce in 1981. His ex-wife, Roberta Keith, died on September 29, 2024, in Los Angeles. The couple had two daughters, Rebecca Haze and D.D. Haze, born during their marriage. Haze resided in Los Angeles with his family throughout this period, maintaining a private home life amid his work in the film industry. No other marriages or significant relationships are documented in available records.

Death

Jonathan Haze died on November 2, 2024, at the age of 95, from natural causes at his home in . His daughter, Rebecca Haze, confirmed the death to multiple media outlets, noting that he passed peacefully. Following private services, Haze was cremated, with his remains retained by the family; no public or details have been announced as of November 2025. Haze's death came amid continued cult appreciation for his iconic roles in low-budget and films, which had gained renewed attention in the years leading up to 2024.

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