Highly respected and influential American film director (1925–1984) known for his unflinching, usually graphic portrayals of violence, often in oddly poetic slow motion. Cited as a major influence by, among others, Quentin Tarantino and Martin Scorsese, Peckinpah earned a berth in the canon of film with such modern classics as The Wild Bunch, Straw Dogs, and the bizarrely captivating and unforgettably titled Bring Me the Head of Alfredo Garcia. DS, two pages, 8.5 x 11, April 15, 1966. A document requesting reimbursement for expenses incurred during the “running” of the film The Cincinnati Kid. In part: “I received a billing regarding projection costs on the running of Cincinnati Kid. This is not a Latigo [production company] expense as I ran the picture at the express invitation of Martin Ransohoff. This, plus the fact that Jacques Bar told me some weeks ago that ‘Caravans’ would be submitted to Steve McQueen (it has been) and I was still in the process of re-writing the script, makes me feel that I am not liable in any case for the cost of the running….” The second page is a photocopied list of itemized expenses, including long-distance calls, postage, and messenger service. The Cincinnati Kid, starring Steve McQueen as an ambitious upstart gambler, originally began production with Peckinpah at the helm. After commencing filming (in black and white, per Peckinpah’s original vision of a 1930s atmosphere), Peckinpah was fired by producer Ransohoff for “vulgarizing” the film, his footage was scrapped, and Norman Jewison assumed directorial duties. Peckinpah and McQueen would later reteam to make The Getaway and Junior Bonner. Secretarial/recipient’s notations and mild handling wear, otherwise fine, clean condition. Peckinpah is among the most elusive of modern directors in autograph material, especially those related directly to film. R&R COA.
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