Steckler’s low‑budget camaraderie sometimes took the form of charity casting: in his 1969 crime film Body Fever, he created a small role for fellow director Coleman Francis, who by that point had fallen into destitution. Francis — known for his own bleak, inert features — was given screen time at a moment when few would hire him. That kindness has a melancholy edge; Francis died not long after the making of Body Fever, his career and finances in ruins. The tragic arc of Francis’s final years contrasts with the later afterlife of both filmmakers’ work: where Francis would be rediscovered posthumously as a figure of cult fascination, Steckler himself would also achieve belated notoriety through the same channels (including Mystery Science Theater 3000), ensuring that the two men’s faded collaboration would be remembered as a small, poignant footnote in the annals of American exploitation cinema.
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