the epic The Big Red One, the semiautobiographical story of a platoon of soldiers and their harrowing experiences during World War II. The film won critical praise, but failed at the box office. In 1981, he was selected to direct the film White Dog, based on a novel by Romain Gary. The controversial film depicts the struggle of a black dog trainer trying to de-program a "white dog," a stray that was programmed to viciously attack any black person. He readily agreed to work on the film, having focused much of his career on racial issues. Already familiar with the novel and with the concept of "white dogs," he was tasked with "reconceptualizing" the film to have the conflict depicted in the book occur within the dog rather than the people. He used the film as a platform to deliver an anti-racist message through the film's examination of the question of whether racism is a treatable problem or an incurable disease. During filming, Paramount Pictures grew increasingly concerned the film would offend African-American viewers, and brought in two consultants to review the work and offer their approval on the way Black characters were depicted. One felt the film had no racist connotations, while the other, Willis Edwards, vice president of the Hollywood NAACP chapter, felt the film was inflammatory and should never have been made. The two men provided a write-up of their views for the studio executives, which were passed to producer Jon Davison along with warnings that the studio was afraid the film would be boycotted. Fuller was not told of these discussions, nor given the notes until two weeks before filming was slated to conclude. Known for being a staunch integrationist and for his regularly giving Black actors nonstereotypical roles, Fuller was furious, finding the studio's actions insulting. He reportedly had both representatives banned from the set afterwards, though he did integrate some of the suggested changes into the film. After the film's completion, Paramount refused to release it, declaring it did not have enough earnings potential to go against the threatened NAACP boycotts and possible bad publicity. After White Dog was shelved by Paramount Pictures, Fuller moved to France in 1982, and never directed another American film. He directed two theatrical French films, Les Voleurs de la nuit in 1984 and Street of No Return in 1989. Les Voleurs de la nuit was entered into the