- Born
- Height6′ 2″ (1.88 m)
- Self professed Star Trek geek who watched and loved the Trek series "Deep Space Nine" and set out to write for them. At the time, Star Trek had an open script submission policy and Fuller contributed a spec, leading to a pitching opportunity. When he had sold a couple of stories to Deep Space Nine, Fuller was hired to be a full staff writer for sister Trek series "Voyager" in its fourth season. He worked on Voyager for the remainder of its seven-year run, working his way up to co-producer of the series.
During the last year of Voyager, Fuller delivered the pilot spec for "Dead Like Me" to his agent who immediately sold it. "Dead Like Me" was canceled after two seasons, but Fuller was a trusted commodity at this point and moved on to create the short-lived but critically acclaimed "Wonderfalls".
Fuller has had a meteoric career in television and has worked non-stop since first pitching to Deep Space Nine in 1993. He wrote and produced an animated movie with Mike Mignola called "The Amazing Screw-On Head". He then moved on to co-executive produce and write for "Heroes" which became a smash hit. Even though it got picked up for a second season Fuller left the show to create his critically acclaimed new show "Pushing Daisies".- IMDb mini biography by: A Kemp (updated by J. D.)
- ParentsBetty ScharnhorstArthur Fuller
- Often works with Ellen Greene
- All of his shows have at least one female character with a traditionally male name (Chuck in "Pushing Daisies", George in "Dead Like Me", Freddie Lounds in "Hannibal", Michael Burnham in "Star Trek: Discovery")
- His shows usually involve Death in some thematic way
- Stepped down from Executive Producer position with upcoming Star Trek: Discovery series in favor of American Gods.
- Often writes quirky, dark humor, fantasy shows.
- Remaking The Munsters (1964) for NBC. (filmed as _"Mockingbird Lane" (2012)_)
- I got into writing to become a "Star Trek" writer. I was a rabid fan. I had shelves and shelves and shelves of action figures in my bedroom that scared away more dates than I care to admit to. So it was really...if back then, you told me 'you're gonna write for "Star Trek" for twenty years,' I couldn't have imagined a happier career. But after writing for "Star Trek" for four years and bumping up against the parameters of the storytelling, which sometimes were very restrictive because there was always that magical reset button and you could never carry story arcs over the episodes because they were so heavily syndicated that it simply wasn't allowed, I began to get itchy and wanting to tell stories with a little more emotional depth, because one of the things about the "Star Trek" universe, especially "Next Generation," and "Deep Space Nine" and "Voyager" were that the characters were so much more evolved than we were that they wouldn't be terrified when they're looking at a giant Borg cube about to assimilate them. They would handle their jobs and they would behave responsibly and calmly, and I just had a hard time relating to that after a certain point.
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