SF

Full Name and Common Aliases


Samuel Michael Fuller was an American film director, screenwriter, actor, journalist, and war correspondent. He is often referred to as Sam Fuller.

Birth and Death Dates


Fuller was born on August 12, 1915, in Worcester, Massachusetts, and passed away on October 30, 1997, in Los Angeles, California.

Nationality and Profession(s)


Fuller's nationality was American, and he worked as a film director, screenwriter, actor, journalist, and war correspondent throughout his career.

Early Life and Background


Growing up in a poor Jewish family, Fuller's early life was marked by hardship. He attended Boston English High School but dropped out at the age of 16 to work as a typesetter for the local newspaper. During this time, he began writing short stories and developing his interest in journalism.

Fuller joined the United States Army in 1942 and served during World War II as a war correspondent and intelligence officer. His experiences during this period would later influence many of his films, including _The Steel Helmet_ (1951) and _Merrill's Marauders_ (1962).

Major Accomplishments


Fuller directed over 40 films throughout his career, earning him recognition as a pioneering figure in the industry. Some of his most notable works include:

_The Steel Helmet_ (1951), the first American film to depict the Korean War
_Shock Corridor_ (1963), a psychological thriller that explores themes of war trauma and social injustice
_Shock Treatment_ (1964), a crime drama that critiques the treatment of mental illness in society

Fuller's films often tackled tough subjects, such as racism, police brutality, and the consequences of war. His work has been praised for its unflinching portrayal of harsh realities.

Notable Works or Actions


Some of Fuller's most notable works include:

_The Steel Helmet_ (1951), a drama that explores the experiences of American soldiers during the Korean War
_Merrill's Marauders_ (1962), an adventure film based on the true story of a group of soldiers who fought against the Japanese in Burma during World War II
_Shock Corridor_ (1963), a psychological thriller that explores themes of war trauma and social injustice

Fuller was also known for his work as a war correspondent and intelligence officer during World War II. His experiences during this period would later influence many of his films.

Impact and Legacy


Samuel Fuller's impact on the film industry cannot be overstated. He was one of the first American filmmakers to tackle tough subjects, such as racism, police brutality, and the consequences of war. His work has been praised for its unflinching portrayal of harsh realities.

Fuller's legacy extends beyond his films, however. He was a true original – a maverick who refused to conform to industry norms. His courage in tackling difficult subjects has inspired generations of filmmakers, including Martin Scorsese and Francis Ford Coppola.

Why They Are Widely Quoted or Remembered


Samuel Fuller is widely quoted and remembered for his unflinching portrayal of harsh realities in his films. His willingness to tackle tough subjects, such as racism, police brutality, and the consequences of war, has made him a respected figure in the industry.

Quotes by Samuel Fuller

When you're at the end of your rope, all you have to do is make one foot move out in front of the other. Just take the next step. That's all there is to it.
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When you're at the end of your rope, all you have to do is make one foot move out in front of the other. Just take the next step. That's all there is to it.
If your first scene doesn’t give you a hard on, throw it out!
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If your first scene doesn’t give you a hard on, throw it out!
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it’s all fitted to the action, to the script, to the characters.
"
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it’s all fitted to the action, to the script, to the characters.
We’ll build a democracy here, even if it’s with Nazi bricks.
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We’ll build a democracy here, even if it’s with Nazi bricks.
Heroes? Don’t believe in them.
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Heroes? Don’t believe in them.
There’s a difference between a Nazi and a German.
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There’s a difference between a Nazi and a German.
If a story doesn’t give you a hard-on in the first couple of scenes, throw it in the goddamned garbage.
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If a story doesn’t give you a hard-on in the first couple of scenes, throw it in the goddamned garbage.
When you’re in the battlefield, survival is all there is.
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When you’re in the battlefield, survival is all there is.
You know how you smoke out a sniper? You send a guy out in the open, and you see if he gets shot. They thought that one up at West Point.
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You know how you smoke out a sniper? You send a guy out in the open, and you see if he gets shot. They thought that one up at West Point.
Mark Twain didn’t psychoanalyze Huck Finn or Tom Sawyer. Dickens didn’t put Oliver Twist on the couch because he was hungry! Good copy comes out of people, Johnny, not out of a lot of explanatory medical terms.
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Mark Twain didn’t psychoanalyze Huck Finn or Tom Sawyer. Dickens didn’t put Oliver Twist on the couch because he was hungry! Good copy comes out of people, Johnny, not out of a lot of explanatory medical terms.
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