Siegel was also important to the career of director Sam Peckinpah. In 1954, Peckinpah was hired as a dialogue coach for Riot in Cell Block 11. His job entailed acting as an assistant to the director, Siegel. The film was shot on location at Folsom Prison. Siegel's location work and his use of actual prisoners as extras in the film made a lasting impression on Peckinpah. He worked as a dialogue coach on four additional Siegel films: Private Hell 36 (1954), An Annapolis Story (1955), Invasion of the Body Snatchers (1956), and Crime in the Streets (1956). Twenty-five years later, Peckinpah was all but banished from the industry due to his troubled film productions. Siegel gave the director a chance to return to filmmaking. He asked Peckinpah if he would be interested in directing 12 days of second unit on Siegel's Jinxed! film. Peckinpah immediately accepted, and his earnest collaboration with his longtime friend was noted within the industry. While Peckinpah's work was uncredited, it led to his hiring as the director of his final film The Osterman Weekend (1983).
Siegel was also important to the career of director Sam Peckinpah. In 1954, Peckinpah was hired as a dialogue coach for Riot in Cell Block 11. His job entailed acting as an assistant to the director, Siegel. The film was shot on location at Folsom Prison. Siegel's location work and his use of act.ual prisoners as extras in the film made a lasting impression on Peckinpah. He worked as a dialogue coach on four additional Siegel films: Private Hell 36 (1954), An Annapolis Story (1955), Invasion of the Body Snatchers (1956), and Crime in the Streets (1956). Twenty-five years later, Peckinpah was all but banished from the industry due to his troubled film productions. Siegel gave the director a chance to return to f?ilmmaking. He asked Peckinpah if he would !be interested in directing 12 days of second unit on Siegel's Jinxed! film. Peckinpah immediately accepted, and his earnest collaboration with his longtime friend was noted within the industry. While Peckinpah's work was uncredited, it led to his hiring as the director of his final film The Osterman Weekend (1983).