Editing George Roy Hill (section)

===Television and theatre director===
Hill used his Korean War experience as the basis for a TV drama, "My Brother's Keeper", which appeared on ''[[Kraft Television Theatre]]'', with Hill himself in the cast. During his military service at Cherry Point, he had had to be 'talked down' by a ground controller at [[Atlanta]] airport, an incident that led to his writing the screenplay. The episode was performed and transmitted live in 1953.<ref name="Times"/> After his [[demobilisation]], he joined the ''Kraft Television Theatre'' as a writer, one of his scripts included ''[[Keep Our Honor Bright]]''.<ref name="Telegraph"/> He later directed episodes of ''[[Ponds Theater]]'' ("Time of the Drought"), and ''Lux Video Theatre'' ("The Creaking Gate", "Not All Your Tears", "The Happy Man".) Hill returned to Broadway in 1957 as director of the [[Pulitzer Prize]]-winning play ''[[Look Homeward, Angel (play)|Look Homeward, Angel]]''. Starring [[Jo Van Fleet]] and [[Anthony Perkins]], this ran for 564 performances.<ref name="Telegraph"/>

Hill continued to direct television, most notably episodes of ''Kraft Theatre'' including "Eleven O'Clock Flight", "The Devil as a Roaring Lion", "Good Old Charlie Faye", "[[A Night to Remember (TV play)|A Night to Remember]]", an adaptation of [[Walter Lord]]'s book about the sinking of the [[RMS Titanic|Titanic]]<ref name="Times"/> (of which Hill also co-wrote the teleplay). In addition he did "Man on the White Horse", "Carnival", and "A Real Fine Cutting Edge" with [[George Peppard]] for ''[[The Kaiser Aluminum Hour]]''. Hill's work on "A Night to Remember" earned him two [[Emmy]] nominations for writing and directing at the [[9th Primetime Emmy Awards]]. He directed some famous episodes of ''[[Playhouse 90]]'' including "[[Helen_Morgan_(Playhouse_90)|The Helen Morgan Story]]" (1957), "[[The_Last_Clear_Chance_(Playhouse_90)|The Last Clear Chance]]" (1958), "[[Child_of_Our_Time_(Playhouse_90)|Child of Our Time]]" (1958), and "[[Judgment_at_Nuremberg_(Playhouse_90)|Judgment at Nuremberg]]" (1959).

Hill then focused on theatre, directing the Broadway productions of ''The Gang's All Here'' (1960) with [[Melvyn Douglas]] (132 performances), ''[[Greenwillow]]'' (1960) with [[Anthony Perkins]] (97 performances) and ''[[Period of Adjustment]]'' (1961) by [[Tennessee Williams]], which ran for 132 performances. He replaced [[Elia Kazan]] for the latter.<ref>Zolotow, Sam. (April 28, 1960). Kazan bows out of Williams play: conflict in schedules forces director to relinquish job – replaced by George Hill. New York Times (1923–), {{OCLC|1645522}} {{ISSN|0362-4331}}, {{ProQuest|114998219}}.</ref><ref>{{cite journal |last1=Palmer |first1=R. Barton |title=Period of Adjustment and Hack Writing |journal=The Tennessee Williams Annual Review |date=2016 |issue=15 |pages=87–105 |url=https://www.jstor.org/stable/48615434 |access-date=June 11, 2022 |publisher=Historic New Orleans Collection |location=JSTOR |doi=10.2307/48615434 |jstor=48615434 |s2cid=252175801 |quote=in offering his excuses to the Times reporter, Kazan perhaps protested too much that a schedule problem was all there was to it. Embarrassed, Williams refused to let the matter drop: he aired his hurt feelings to another reporter at the same paper, and Kazan’s departure was at once transformed into a professional feud that played out in public, to the chagrin of both parties. Of course, the brouhaha created the worst kind of publicity for the Broadway production, as Williams simply would not accept Kazan’s explanation that he was occupied with directing the William Inge adaptation Splendor in the Grass}}</ref>