34th Berlin International Film Festival. He directed his last film, The Madonna and the Dragon, in 1990, and he wrote his last screenplay, Girls in Prison, in 1994. With his wife, Christa Lang, and Jerry Rudes, Fuller wrote an autobiography A Third Face (published in 2002). This was the culmination of a long career as an author. Among his books are the novels Test Tube Baby (1936), Make Up and Kiss (1938) and The Dark Page (1944); novelizations of his films The Naked Kiss (1964) and The Big Red One (1980; reissued 2005); and 144 Piccadilly (1971), and Quint's World (1988). A book-length interview of Fuller by Jean Narboni and Noel Simsolo, Il etait une fois ... Samuel Fuller (with a preface by Martin Scorsese) appeared in 1986. Acting Fuller made a cameo appearance in Jean-Luc Godard's Pierrot le Fou (1965), where he famously intones: "Film is like a battleground ... Love, hate, action, violence, death. In one word, emotion!" He also made a cameo appearance at an outdoor cafe in Luc Moullet's Brigitte et Brigitte (1966) along with French New Wave directors Claude Chabrol, Eric Rohmer, and André Téchiné. He plays a film director in Dennis Hopper's ill-fated The Last Movie (1971); an Army colonel in Steven Spielberg's 1941 (1979); a war correspondent in his film The Big Red One (scene deleted in the original release, restored in the reconstructed version), a talent agent in his film White Dog (1981), and a cameraman in Wim Wenders' The State of Things (1982). He portrays an American gangster in two films set in Germany: The American Friend by Wenders and Helsinki Napoli All Night Long by Mika Kaurismäki. He also appeared in Larry Cohen's A Return to Salem's Lot (1987), and played a businessman in La Vie de Bohème (1992) by Aki Kaurismäki. His last work in film was as an actor in The End of Violence (1997). A photo of Fuller also appears on one of the mirrors of a stripper in his Shock Corridor. Style and theme Fuller's work has been described as primitive by Luc Moullet and by the influential American critics Manny Farber and Andrew Sarris. Grant Tracey has used the term "narrative tabloid" to refer to Fuller's style of filmmaking. This was the result of his often lower budgets, but also reflected Fuller's pulp-inspired writing. Fuller was known for using intense close-ups, off-centered framings, and shock