Lucio Fulci

Lucio Fulci
Fulci at the 1994 Eurofest in London
Born	(1927-06-17)17 June 1927 Rome, Italy
Died	13 March 1996(1996-03-13) (aged 68) Rome, Italy
Occupation(s)	Film director, film producer, screenwriter, actor
Years active	1950-1996
Spouse	Marina Fulci ​ (m. 1958⁠–⁠1969)​ (her death)
Children	Camilla Fulci Antonella Fulci

Lucio Fulci (Italian: [ˈlutʃo ˈfultʃi]; 17 June 1927 – 13 March 1996) was an Italian film director, screenwriter, producer, and actor.

Although he worked in a wide array of genres through a career spanning nearly five decades, including comedy, spaghetti western, adventure, science fiction and comedy, he garnered an international cult following for his giallo and horror films. His most notable films include the "Gates of Hell" trilogy—City of the Living Dead (1980), The Beyond (1981), and The House by the Cemetery (1981)—as well as Massacre Time (1966), One on Top of the Other (1969), A Lizard in a Woman's Skin (1971), Don't Torture a Duckling (1972), White Fang (1973), Four of the Apocalypse (1975), Sette note in nero (1977), Zombi 2 (1979), The Beyond (1981), The New York Ripper(1982), and A Cat in the Brain (1990).

Because of the high level of visceral graphic violence present in many of his films, especially Zombi 2, The Beyond and The New York Ripper, Fulci is frequently referred to as "The Godfather of Gore", a title also given to Herschell Gordon Lewis.

Life and career

Lucio Fulci was born in Trastavere, Rome on 17 June 1927. His mother Lucia was from a very poor but reputable Sicilian, politically anti-fascist family, from Messina, Sicily. She had earlier eloped to Rome with a lover who later left her to raise their child (Lucio) alone. Lucio was raised by his mother and a female housekeeper. He attended the Naval College in Venice, and near the end of WW2, completed his studies back in Rome at the Giulio Cesare State Classical School. He was interested in art, music, film, soccer and always had a love for sailing. Fulci wrote two early scripts during this time which were never filmed. He was in his young adult years a politically active radical for the Italian Communist Party. Fulci was even arrested by the police for demonstrating with the Communist Party. An assassination attempt on party leader Palmiro Togliatti caused a political crisis in Italy and calls for a general strike. After this incident, his relationship with his family became tense and chaotic and he lived an impoverished life for a time.

His mother encouraged him to be a lawyer, but he wound up going to medical school instead. After studying medicine in college and qualifying as a doctor, he decided there was more money to be had in the film industry. He worked initially as an art critic, writing for Gazzetta delle Arti and Il Messaggero, and also joined the critical art group il Gruppo Arte Sociale.

His interest in the arts led him to apply to the Centro Sperimentale (Rome's film school) where he apprenticed, after which he worked first as a director of documentaries, then an assistant director of motion pictures, then a screenwriter working mainly in the Italian comedy field In the early 1950s. The famed Italian director Steno took Fulci under his wing and allowed him to assist in the making of a number of comedies starring Totò. Fulci finally became a full-fledged movie director beginning with I Ladri in 1959. Fulci even appeared in a cameo in the 1960 rock and roll film Sanremo - la Grande Sfida, and was featured on the one-sheet poster as well..

In the 1960s, Fulci wrote or directed more than 30 Italian comedies, eleven of them starring the famous Italian comedian team of Franco Franchi and Ciccio Ingrassia. Most of these early comedies did not enjoy distribution in English-speaking markets, and are thus generally unavailable today in English. Fulci's first film to be distributed theatrically in the USA was Oh! Those Most Secret Agents! in 1965. Only three of his other 1960s films were ever released in the U.S.: Massacre Time (released as The Brute and the Beast in 1968), Una sull'altra (as One on Top of the Other in 1973) and Beatrice Cenci (as Conspiracy of Torture, in 1976).

Fulci moved into directing giallo thrillers with Una sull'altra (1969), A Lizard in a Woman's Skin (1971) and Sette note in nero (The Psychic, 1977), as well as Spaghetti Westerns such as Four of the Apocalypse (1975) and Silver Saddle (1978), all of which were commercially successful and controversial in their depictions of graphic violence. Some of the special effects in A Lizard in a Woman's Skin involving mutilated dogs in a vivisection room were so realistic that Fulci was dragged into court and charged with animal cruelty until he produced the artificial canine puppets that were used in the film (created by special effects maestro Carlo Rambaldi).

His first film to gain significant notoriety in his native country, Don't Torture a Duckling (1972), combined scathing social commentary with the director's trademark graphic violence. Fulci had a Catholic upbringing and always referred to himself as a Catholic. Despite this, some of his movies (Beatrice Cenci, Don't Torture a Duckling, City of the Living Dead, etc.) have been viewed as having very anti-Catholic sentiment. In one of his films, a priest is depicted as a serial child killer, while in another film, a priest commits suicide by hanging himself in a cemetery and is later reincarnated as a demon.

In 1979, he achieved his international breakthrough with Zombi 2, a violent zombie film that was marketed in European territories as a sequel to George Romero's Dawn of the Dead/ Zombi (1978). He followed it up with several other horror films, also featuring zombies, which were popular horror film trope of the time. His features released from 1979 through 1982 (most of them scripted by famed Italian screenwriter Dardano Sacchetti) were described by some critics as being among the most violent and gory films ever made. City of the Living Dead (1980), The Beyond (1981), The House by the Cemetery (1981), The Black Cat (1981), The New York Ripper (1982) and Manhattan Baby (1982) were among his biggest hits, all of which were noted for their extreme content and significant amount of gore.

Several of Fulci's movies released in America were edited by the film distributor to ensure an R rating, such as The Beyond, which was originally released on video in severely edited form as Seven Doors of Death. Others were released Unrated in order to avoid an X-rating (as with Zombi 2 and House by the Cemetery) which would have restricted the films' target audiences to adults. The unrated films often played worldwide in drive-ins and grindhouses where they developed a cult following. Many of Fulci's horror films tend to contain "injury to the eye" sequences, in which a character's eyeball is either pierced or pulled out of its socket, usually in lingering, close-up detail.

Several of Fulci's movies were prohibited in Europe or were released in heavily cut versions. Of the original 72 films on the infamous video nasty list in the United Kingdom, three belonged to Fulci: Zombi 2 (1979), The Beyond (1981), and House by the Cemetery (1981). After viewing Fulci's The New York Ripper, not only did the British Board of Film Classification refuse the film a certificate, but every single print in the country was taken to an airport and returned to Italy by order of James Ferman; it was not until later that VIPCO allowed the release of the film, initially outsourcing production to a foreign source under police supervision before releasing a VHS in 2002 and a DVD in 2007.

After collaborating with screenwriter Sacchetti for six years, Fulci went off on his own in 1983 to direct the movie Conquest (a Conan-like barbarian fantasy) in Mexico, failing to involve Sacchetti in the deal. The film did poorly upon its release, and afterwards, Fulci had trouble jump-starting his working relationship with Sacchetti, who by that time had gone his own way.

Fulci became ill from hepatitis in 1984, right after he finished directing Murder Rock in New York City, and had to be hospitalized in Italy for many months. Fulci spent most of 1984 hospitalized with cirrhosis, and much of 1985 recuperating at home. After 1986, with diabetes plaguing him and the departure of screenwriter Dardano Sacchetti from his circle of friends, Fulci's endeavors as a director suffered.

In 1988, he had directed about two-thirds of Zombi 3 in the Philippines before having to return abruptly to Italy due to a second bout of hepatitis. The film was finished by an uncredited Bruno Mattei. Fulci later said that he hated the finished film and tried unsuccessfully to get his name removed from the credits. Mattei has said in interviews that the film was Fulci's, and that he (Mattei) just added a few extra scenes to pad out the running time.

In 1989, Fulci was hired to direct a pair of made-for-TV horror movies for the Italian market, neither of which aired in Italy due to the high amount of gore and violence. They were released later on DVD, however, outside of Italy. Fulci's intended comeback films Demonia and A Cat in the Brain were produced in 1990. Both films struggled to get released and were considered critical disappointments. His final project, the 1991 psychological thriller The Door to Silence, based on one of his own short stories, also received poor reviews. The release of this film is seen by some as the critical lowest point of his career.

In the last decade of his life, Fulci suffered from emotional and physical health problems, reflected by a marked decline in the quality of his work. Fulci also continued to suffer during the late 1980s from reccurring problems with diabetes and his liver. He hid the severity of his illness from his friends and associates, so that he would not be deemed unemployable. His wife's suicide in 1969 had always weighed heavily on him (his wife Marina had killed herself with a gas oven after learning she had inoperable cancer). People who knew Fulci well spoke of a third daughter he once had who he said was killed in a car accident in the 1970s, but this story was never confirmed, and the daughter's name (if in fact she existed) was never revealed by any of his biographers. Fulci biographer Stephen Thrower wrote "....the suicide of his wife in 1969 was followed not long after by the death of a daughter in a road accident." Dario Argento is quoted in one book as saying of Fulci "His life was terrible. His wife committed suicide, and his daughter was paralyzed because of an accident."

Between 1988 and 1989, Fulci made a deal with producers Antonio Lucidi and Luigi Nannerini to lend his name to the credits of some of their low-budget horror films that he had not even worked on, simply to make the films more marketable to foreign distributors. Although he did supervise the special gore effects in The Murder Secret, and directed some additional footage to lengthen the running time of Hansel and Gretel, he was hardly at all involved with some of the other projects which nonetheless bore the "Lucio Fulci Presents" label on their video display boxes. The following year, in reciprocation for the use of his name, Fulci was permitted to use gore footage culled from these various films to make his infamous A Cat in the Brain. Fulci tried unsuccessfully however to have his name removed from the credits of one film in particular, Gianni Martucci's The Red Monks, since he said he had had no involvement whatsoever with the project (the film's producer Pino Buricchi begged him to let them put his name in the credits).

It could be argued that at his peak, Fulci's fame and popularity were on a par with that of Dario Argento, another famous Italian horror film director whom Fulci had avoided working with as a result of Fulci's publicly criticizing Argento from time to time. Fulci was most likely resentful of Argento since Argento had always received critical acclaim and recognition in Italy and abroad, whereas Fulci had been regarded in his home country as something of a horror film "hack". Fulci always joked that when he died, the Italian newspapers would all misspell his name, if they even mentioned him at all.

Fulci and Argento met in 1994 at the Rome Fanta Festival and surprisingly agreed to collaborate on a horror film called The Wax Mask, a remake of the 1953 Vincent Price horror classic House of Wax, also based on a story called "The Waxwork Museum" by Gaston Leroux. Argento claimed he had heard about Fulci's miserable circumstances at the time and wanted to offer him a chance at a comeback. It is said that Argento was shocked at how thin and sickly Fulci appeared at their 1994 meeting, and said he felt very sorry for him.

Fulci collaborated with writer Daniele Stroppa to create a screenplay for Argento, and Argento kept trying to get them to increase the violence and gore quotient, against Fulci's wishes strangely. (Stroppa had co-written two of Fulci's earlier films, The House of Clocks and Voices from Beyond). Fulci was slated to also direct the film, but sadly he died before filming could begin, due to a series of delays caused by Argento's involvement with his own project, The Stendhal Syndrome, at the time. Wax Mask was eventually directed by former special effects artist Sergio Stivaletti. The screenplay was entirely reworked by Stivaletti after Fulci's death, so the finished film contains significant changes to Fulci's original screenplay. Argento also hired Fulci's daughter Antonella to serve as an assistant art director on the film.

Lucio Fulci died alone, in his sleep, in his apartment in Rome at around 2 P.M. on the afternoon of March 13, 1996, from diabetes-related complications at the age of 68. Toward the end of his life, Fulci had lost his house and was forced to move into a cramped apartment. Since Fulci had been so despondent in his later years, some believed that he may have intentionally allowed himself to die by not taking his diabetes medication, but this is controversial. Dario Argento paid for Fulci's funeral arrangements.

Fulci's films had remained generally ignored or dismissed for many years by the mainstream critics, who regarded his work as exploitation. However, genre fans appreciated his films as being stylish exercises in extreme gore. At least one of his films, The Beyond, has "amassed a large and dedicated following". In 1998, The Beyond was re-released to theaters by Quentin Tarantino, who has often cited the film, and Fulci himself, as a major source of inspiration. Fulci's earlier, lesser-known giallo Don't Torture a Duckling (1972) received some critical acclaim as well. Fulci regarded two of his films, Don't Torture a Duckling and Beatrice Cenci, as his best all-around work, and considered both Zombi 2 and The Beyond as the two films that forever catapulted him to cult film stardom. His daughter Camilla served as an assistant director on his last five films (from 1989-1991) and has gone on to become an assistant director in the Italian film industry.

Fulci made an appearance at the January 1996 Fangoria Horror Convention in New York City, two months before his death. Walking on crutches with a bandaged foot, he told attendees that he had had no idea his films were so popular outside of his native Italy, as hordes of starstruck gore fans braved blizzard conditions that weekend to meet him.

Fulci vs. Sacchetti

Fulci and screenwriter Dardano Sacchetti share many screen credits from 1977 to 1983. Indeed, most of Fulci's most celebrated horror films were written by Sacchetti. After collaborating with Sacchetti for six years, Fulci went off on his own in 1983 to direct Conquest in Mexico, failing to involve Sacchetti in the deal. The film was supposed to be a high budget production, and Sacchetti allegedly resented the fact that Fulci had not thought to involve him in the project. The film actually wound up doing quite poorly upon its release, and afterwards, Fulci had trouble jump-starting his working relationship with Sacchetti, who by this time had gone his own way.

In 1987, Fulci accused Sacchetti of stealing a story idea of his, a project which they were planning to do together in 1983 after Fulci returned from Mexico. He claimed that Sacchetti later allowed director Lamberto Bava to direct the project (under the title Per Sempre / Until Death) in 1987 without Fulci's knowledge that the film was even being made. Luca M. Palmerini and Gaetano Mistretta's book Spaghetti Nightmares, publishes two full interviews, one with Fulci and one with Sacchetti, explaining the reasons for the fallout.

Fulci's version is as follows: "One day I told Dardano the plot of my Evil Comes Back (later retitled Per Sempre/Until Death), a sequel on a fantastic note to The Postman Always Rings Twice, and he proposed it to several producers with my name on it as the director. Then, one day, he registered the screenplay with his name on it! (laughs) I later found out that he'd sold the story idea to a producer (Sergio Martino), but, in view of our past friendship, I decided not to sue him. I just broke off all relations with him. He is indeed a very good scriptwriter though."

Sacchetti's version differs: "When I proposed to Lucio my original treatment for Per Sempre, which was nothing more than a sequel to The Postman Always Rings Twice in which a dead man returns to life, he became really enthusiastic and had my story read by a producer friend of his who then commissioned me to write a finished script. At that time, Fulci assumed that he would direct it. Later, for various reasons, problems arose and the film was never made. Four years later, (Lamberto) Bava used my script to make Per Sempre and Fulci, who was not working much at the time, got angry with me and started hurling these accusations. It's one thing for him to say that we were originally supposed to make the film together, but to claim that he originated the story and that I stole it from him is pure science fiction".

Filmography

Year	Film	Worked as			Notes
		Director	Writer	Producer
1950	The Last Days of Pompeii (1950 film)	Yes (co-director)			Italian: Gli ultimi giorni di Pompei
1953	L'uomo, la bestia e la virtù	Yes (assistant director)	Yes (co-writer)		English: Man, Beast and Virtue
	Ci troviamo in galleria		Yes (co-writer)		English: Let's Meet in the Gallery; a.k.a. Une fille formidable
	They Stole a Tram		Yes (co-writer)		Italian: Hanno rubato un tram
1954	Un giorno in pretura	Yes (assistant director)	Yes (co-writer)		English: A Day in Court
	Un americano a Roma		Yes (co-writer)		English: An American in Rome
1955	Piccola posta		Yes (co-writer)		English: The Letters Page
	La ragazza di via Veneto		Yes (co-writer)		English: The Girl from Veneto Street
	Io sono la primula rossa		Yes (co-writer)		English: I Am The Most Wanted; based on The Scarlet Pimpernel (novel)
	Totò all'inferno		Yes (co-writer)		English: Toto in Hell
	Le avventure di Giacomo Casanova		Yes (co-writer)		English: The Adventures of Giacomo Casanova; a.k.a. The Sins of Casanova
1958	Guardia, ladro e cameriera		Yes (co-writer)		English: Cop, Thief and Maid (aka Maid, Thief and Guard)
	Totò nella luna		Yes (story only)		English: Toto On The Moon
1959	I ladri	Yes	Yes		English: The Thieves (first film directed entirely by Fulci)
	Ragazzi del Juke-Box	Yes	Yes		English: Jukebox Kids
1960	Urlatori alla sbarra	Yes			English: Howlers in the Dock
1961	Totò, Peppino e... la dolce vita		Yes (story only)		English: Totò, Peppino and the Sweet Life
	Letto a tre piazze		Yes (co-writer)		English: The King-Sized Bed
1962	Colpo gobbo all'italiana	Yes			English: Getting Away With It...Italian Style
	I due della legione	Yes	Yes		English: Those Two in the Foreign Legion
	Le massaggiatrici	Yes			English: The Masseuses
1963	Uno strano tipo	Yes	Yes		English: A Strange Type
	Gli imbroglioni	Yes	Yes		English: The Swindlers (1963 film)
1964	I maniaci	Yes			English: The Maniacs
	I due evasi di Sing Sing	Yes	Yes		English: Two Escapees from Sing Sing
	I due pericoli pubblici	Yes	Yes		English: The Two Public Enemies; a.k.a. Two Dangerous Agents
	002 agenti segretissimi	Yes	Yes		a.k.a. Oh! Those Most Secret Agents (USA); (Fulci's first film to be dubbed & theatrically distributed in the USA)
1965	Come inguaiammo l'esercito	Yes			English: How We Got Into Trouble with the Army; a.k.a. I due marmittoni (The Two Rookies)
	002 operazione Luna	Yes			English: 002 Operation Moon; a.k.a. Dos cosmonautas a la fuerza (Two Unwilling Cosmonauts) (story)
	I due parà	Yes	Yes		English: The Two Parachutists
1966	Come svaligiammo la banca d'Italia	Yes	Yes		English: How We Robbed the Bank of Italy
	Massacre Time	Yes			Italian: Le colt cantarono la morte e fu...tempo di massacro; a.k.a. Colt Concert, a.k.a. The Brute and the Beast (USA); (dubbed & distributed theatrically in the US in 1968)
1967	Come rubammo la bomba atomica	Yes			English: How We Stole the Atomic Bomb
	Il lungo, il corto, il gatto	Yes			English: The Long, The Short, The Cat; a.k.a. The Tall, The Short, The Cat
	El hombre que mató a Billy el Niño		Yes (co-writer)		English: The Man Who Killed Billy the Kid (dubbed & distributed in the US in 1968 as I'll Kill Him and Return Alone); Fulci only co-wrote this film, directed by Julio Buchs
	Operazione San Pietro	Yes	Yes		English: Operation Saint Peter's
1968	I due crociati		Yes (co-writer)		English: The Two Crusaders; (directed by Giuseppe Orlandini)
1969	Double Face		Yes (story only)		Italian: A doppia faccia; a.k.a. Liz and Helen; a.k.a. Das Gesicht im Dunkeln / The Face in the Dark, a.k.a. Chaleur et jouissance / Heat and Pleasure (a more adult re-edit); (Fulci only contributed to the story, film was directed by Riccardo Freda)
	Una sull'altra (One on Top of the Other)	Yes	Yes		Translation: One on Top of the Other; a.k.a. Perversion Story; (released theatrically in USA in 1973)
	Beatrice Cenci	Yes	Yes		a.k.a. The Conspiracy of Torture (USA); (released theatrically in USA in 1976)
1971	A Lizard in a Woman's Skin	Yes	Yes		Italian: Una lucertola con la pelle di donna; a.k.a. Schizoid, a.k.a. Carole
1972	Hector the Mighty		Yes (co-writer)		Italian: Ettore lo fusto; (directed by Enzo Castellari)
	The Eroticist	Yes	Yes		Italian: All'onorevole piacciono le donne (Nonostante le apparenze... e purché la nazione non lo sappia) (Translation: The Senator Likes Women...Despite Appearances and Provided the Nation Doesn't Know)
	Don't Torture a Duckling	Yes	Yes		Italian: Non si sevizia un paperino; a.k.a. The Long Night of Exorcism
1973	White Fang	Yes			Italian: Zanna Bianca
1974	Challenge to White Fang	Yes	Yes		Italian: Il ritorno di Zanna Bianca / The Return of White Fang
1975	Dracula in the Provinces	Yes			Italian: Il cavaliere Costante Nicosia demoniaco, ovvero: Dracula in Brianza, a.k.a. Young Dracula
	Four of the Apocalypse	Yes			Italian: I quattro dell'apocalisse
1976	La Pretora (The Magistrate)	Yes			a.k.a. My Sister in Law
1977	Sette note in nero (The Psychic)	Yes	Yes (co-written with Dardano Sacchetti)		a.k.a. The Psychic; a.k.a. Murder to the Tune of Seven Black Notes
1978	Silver Saddle	Yes			Italian: Sella d'argento; a.k.a. They Died With Their Boots On
1979	Zombi 2	Yes			a.k.a. Zombie, a.k.a. Zombie Flesh Eaters, a.k.a. Island of the Living Dead
1980	Un uomo da ridere	Yes	Yes (co-writer)		English: A Man To Laugh At (Italian TV documentary, never dubbed in English)
	Contraband	Yes	Yes (co-writer)		Italian: Luca il contrabbandiere / Luca the Smuggler; a.k.a. The Naples Connection
	City of the Living Dead	Yes	Yes (co-written with Dardano Sacchetti)	Yes	Italian: Paura nella città dei morti viventi; a.k.a. The Gates of Hell, a.k.a. Frayeurs
1981	The Black Cat	Yes	Yes (co-writer)		Italian: Black Cat (Gatto Nero); (based on a story by Edgar Allan Poe)
	The Beyond	Yes	Yes (co-written with Dardano Sacchetti)		Italian: ...E tu vivrai nel terrore! L'aldilà; a.k.a. Seven Doors of Death (edited video release)
	The House by the Cemetery	Yes	Yes (co-written with Dardano Sacchetti)		Italian: Quella villa accanto al cimitero; a.k.a. Zombie Hell House, a.k.a. Freudstein
1982	The New York Ripper	Yes	Yes (co-written with Dardano Sacchetti)		Italian: Lo squartatore di New York
	Manhattan Baby	Yes			Italian: L'occhio del male (The Evil Eye); a.k.a. Eye of the Evil Dead, a.k.a. Possessed
1983	Conquest	Yes			Spanish: Conquista de la Tierra Perdida / Conquest of the Lost Land (filmed in Mexico)
	The New Gladiators	Yes	Yes (co-written with Dardano Sacchetti)		Italian: I guerrieri dell'anno 2072 / Warriors of the Year 2072; a.k.a. Rome 2072: The Fighter Centurions
	Murder Rock	Yes	Yes (co-writer)		Italian: Murderock - Uccide a passo di danza; a.k.a. Murder Rock Dancing Death, a.k.a. The Demon Is Loose! (filmed in NY City)
1985	La gabbia (The Trap)		Yes (co-writer only)		a.k.a. The Cage, a.k.a. Collector's Item, a.k.a. Dead Fright (Fulci co-wrote this film, directed by Giuseppe Patroni Griffi)
1986	The Devil's Honey	Yes	Yes (co-writer)		Italian: Il miele del diavolo; a.k.a. Dangerous Obsession (Fulci's comeback film after his illness)
1987	Aenigma	Yes	Yes (co-writer)		No Italian title (filmed entirely in Yugoslavia)
	The Curse			Yes	a.k.a. The Farm (directed by David Keith; Fulci only worked on the special effects & allegedly co-produced the film)
1988	Zombi 3	Yes (co-directed with Bruno Mattei)			Completed by Bruno Mattei after Fulci became ill (filmed entirely in the Philippines)
	Touch of Death	Yes	Yes		Italian: Quando Alice ruppe lo specchio / When Alice Broke the Mirror, a.k.a. When Alice Broke the Looking Glass
	The Ghosts of Sodom	Yes	Yes		Italian: Il fantasma di Sodoma; a.k.a. Sodoma's Ghost
1989	Night Club		Yes (story only)		No Italian title; Fulci co-wrote the story on this film directed by Sergio Corbucci
	The Sweet House of Horrors	Yes	Yes (story only)		Italian: La dolce casa degli orrori; made for Italian TV
	The House of Clocks	Yes	Yes (story only)		Italian: La casa nel tempo / The House of Time; made for Italian TV
1990	Demonia	Yes	Yes (co-written with Piero Regnoli)		a.k.a. Liza
	Nightmare Concert: A Cat in the Brain	Yes	Yes (co-writer)		Italian: Un gatto nel cervello; a.k.a. Nightmare Concert; (Fulci starred in this film as well)
1991	Voices from Beyond	Yes	Yes (co-written with Piero Regnoli)		Italian: Voci dal profondo / Voices From The Deep
	Door to Silence	Yes	Yes		Italian: Le porte del silenzio; a.k.a. El Enigma de la Muerte, produced by Joe D'Amato
1997	The Wax Mask		Yes (co-writer only)		a.k.a. MDC: Maschera di cera, a.k.a. Wax Mask (released posthumously)

Films "presented" by Lucio Fulci

• The Murder Secret (1988, a.k.a. Non avere paura della zia Marta / Don't Be Afraid of Aunt Martha, a.k.a. Aunt Martha Does Dreadful Things, a.k.a. El espejo roto) – Fulci supervised the gore effects on this film which was written and directed by Mario Bianchi, and was credited as a co-producer.
• The Red Monks (1988, a.k.a. I Frati Rossi, a.k.a. Sexorgien der roten Mönche) Fulci fought in vain to have his name removed from this film's credits; the film was directed and co-written by Gianni Martucci whom Fulci claimed he never even met. Fulci was credited with handling the film's special effects, which he later denied having been involved with.
• Hansel and Gretel (1989, a.k.a. Non Si Seviziano i Bambini / Don't Torture the Children, a.k.a. Die saat des teufels/ The Devil's Seed). Fulci later directed additional footage that was inserted into this Giovanni Simonelli film to lengthen its running time. Simonelli both wrote and directed the film. This film was never dubbed in English.
• Massacre/ Massacro (1989, a.k.a. La morte della medium/ The Death of the Medium; a.k.a. Remember Dr. Jekyll) – Fulci lent his name as co-producer on this film which was written and directed by Andrea Bianchi, although he claimed he was hardly involved at all with making it. This film was never dubbed in English.
• Bloody Psycho (1989, a.k.a. The Snake House, a.k.a. Pesadilla Sangrienta, a.k.a. Lo Specchio / The Mirror, a.k.a. Nel Nido del Serpente / In the Nest of the Serpent) – Fulci lent his name as co-producer on this film directed and co-written by Leandro Luchetti; Fulci's involvement is dubious. This film was never dubbed in English.
• Escape from Death/ Fuga dalla Morte (1989, a.k.a. Luna di Sangue/ Moon of Blood) – Fulci lent his name as co-producer on this film directed and co-written by Enzo Milioni; Fulci's involvement is dubious. This film was never dubbed in English.

Accolades

Year	Award	Category	Film	Result
1983	Fantasporto Film Festival	International Fantasy Film Award	The House by the Cemetery	Nominated
1986	Avoriaz Fantastic Film Festival	Fear Section Award	Murder Rock	Won

Bibliography

• Cacciatore, Giacomo; Albiero, Paolo (2004). Il terrorista dei generi, tutto il cinema di Lucio Fulci. Rome, Italy: Un mondo a parte.{{cite book}}: CS1 maint: multiple names: authors list (link)
• Thrower, Stephen (1999). Beyond Terror, the films of Lucio Fulci. FAB Press. {{cite book}}: Invalid |ref=harv (help)
• Bruschini, Antonio (2004). Lucio Fulci, il poeta della crudeltà. Mondo Ignoto. ISBN 88-89084-25-1.
• Tentori, Antonio; Cozzi, Luigi (2004). Guida al cinema horror made in Italy. Profondo Rosso Edizioni. ISBN 978-88-95294-03-2.
• Julien, Sévéon (2009). Lucio Fulci - le poète du macabre. Bazaar&Co. ISBN 978-2-917339-12-1.
• Balun, Chas; [special introduction by Antonella Fulci] (1997). Lucio Fulci: Beyond the Gates (2nd ed.). Key West, Florida: Fantasma Books. ISBN 1-888214-07-4.
• Howarth, Troy (2015). Splintered Visions: Lucio Fulci and his Films. Midnight Marquee Press. {{cite book}}: Invalid |ref=harv (help)

External links

• Lucio Fulci at IMDb
• Shocking Images – tribute website