[originally published in Steadycam, February 13, 2005; an earlier version of this article was published late 2004 in Queen Anne & Magnolia News]
Samuel Fuller—whose credit on his movies always read
PRODUCER • DIRECTOR
with WRITER on top like that—came to Seattle in May 1976 for a special appearance with two of his movies under the aegis of the Seattle Film Society. He came to enjoy himself, to meet some nice people, to eat some of that Northwest salmon a film-historian friend back in L.A. had urged him to order. And he would talk, not only between the two films in a UW auditorium but also during the five hours between landing at SeaTac Airport and showing up for the gig. And from 10-something the next morning till 11-something the next night, while relays of much younger listeners basked, then collapsed and disappeared as replacements showed up.
He also brought his work along with him, in the form of a stack of paper and a tall, klunky manual typewriter that looked as if it might have come out of one of the newsrooms where he had pounded out stories nearly half a century earlier as a tabloid reporter in New York. He was writing his novel The Big Red One, part of the process of getting to make a movie about what it was like to serve in the 1st Infantry Division, United States Army, from the beginning of America’s participation in World War II to the end—which is to say, from North Africa through Sicily, France, Belgium, again France, and finally to Germany and Czechoslovakia. He had been waiting for the chance to make that movie since sometime in the Sixties (but really, perhaps, since 1945). In 1976, it looked as if it was about to happen, since the critic turned filmmaker Peter Bogdanovich was throwing his own (short-lived) clout into lining up a production deal for Fuller. As it turned out, three more years would pass before he got the go.