Hits, Humor, and High Falls: The Multifaceted Career of Jill Brown

Jill Brown doesn’t merely take hits — she dishes them out. From the complex high falls in The Cell to the wonderfully comedic chaos in 30 Rock, she’s built a name for herself in both visually stunning action and cleverly executed comedy.

Baltimore might be Jill’s birthplace, but the sound of her name has traveled far and wide across the U.S. Working steady in both California and New York, she’s earned over a hundred screen credits. Her résumé reads like a walk through modern cinema. Whether it be The Amazing Spider-Man, The Adjustment Bureau, 21 Jump Street, or Coordinating 2nd Unit in Premium Rush, she’s done it all.

Jill always shows up with the kind of timing and control that keeps productions smooth and safe. When doubling Jennifer Lopez in Enough and later The Cell, Jill performed some of the most crucial action scenes needed to sell the story — from rigged falls, mid-air or multi-stage descenders. Her precision under pressure earned her a Taurus Award for Best High Work.

Of course, not everything revolves around wires and crash pads. Jill is also a respected comedy writer — one of the rare stuntwomen who’s written punchlines and taken them. Working on shows like Wipeout and Killer Karaoke gave her a deeper understanding of physical humor, something she later brought into the Emmy-nominated stunts on Unbreakable Kimmy Schmidt.

As a stunt coordinator, she’s shaped everything from the warm family chaos of Fuller House to the poetic wildness of Dickinson. On 30 Rock, she ran 27 episodes of stunts, translating Tina Fey’s vision into something that landed both physically and comedically.

That kind of grit, awareness, and timing led to multiple SAG nominations — earned through real-time collaboration on set. Jill was part of the nominated stunt ensembles for Joker and The Bourne Legacy, two projects where heavy action wasn’t optional — it was everything.

“I’ve done all styles of riding,” too she’s said. In I Am Legend, she tore through a deserted New York. In American Gangster, she worked gritty city scenes. And in The Dark Knight Rises, she was part of the large-scale destruction that helped define the film’s final act. Behind the camera, she helped shape action-heavy scenes in Zombieland and Confessions of a Shopaholic, guiding teams through sequences that had to hit fast, hard, and tell a clear story.

She’s also an active member of the Stuntwomen’s Association of Motion Pictures and with over 30 car commercials under her belt, she’s just as skilled behind the wheel as she is in front of the camera — whether it’s a hairpin turn or a slapstick moment, Jill’s still bringing it. Still landing hits. Still showing up where the chaos needs choreography tied with humor.