Editing Under Siege (section)

=== Filming ===
{{USS|Alabama|BB-60|6}} (serving as a museum in [[Mobile, Alabama|Mobile]]) stood in for many of the ''Missouri'' sequences, and {{USS|Drum|SS-228|6}} (museum ship) portrayed the North Korean submarine.<ref>{{Cite book|title=The Naval War Film: Genre, History and National Cinema|last=Rayner|first=Jonathan|publisher=Manchester University Press|year=2013|isbn=9781847796257}}</ref> The film also featured footage of the real ''Missouri'' sailing in [[Pearl Harbor]], the [[Pacific Ocean]], and [[San Francisco Bay]].<ref>{{Cite web|title=AFI{{!}}Catalog|url=https://catalog.afi.com/Film/59422-UNDER-SIEGE?sid=cda7b513-5e4d-4cd1-919e-3fc5515a649f&sr=1.9546548&cp=4&pos=8|access-date=2021-10-03|website=catalog.afi.com}}</ref> The war room sequences were filmed inside of a set constructed in a local high school gymnasium.

The film makes extensive use of the [[Introvision]] process, a variation of [[front projection]] that allows realistic three-dimensional interaction of foreground characters with projected backgrounds without the heavy cost of traditional [[Chroma key|bluescreen]] effects.<ref name="introvision">{{cite news |first=Andy |last=Marx |title=Introvision sees the 'Light' |url=https://variety.com/1994/film/news/introvision-sees-the-light-118483/ |work=Variety |date=1994-02-21 |access-date=2013-02-06}}</ref> The technique was also used in the films ''[[Outland (film)|Outland]]'', ''[[Megaforce]]'', ''[[Army of Darkness]]'' and Andrew Davis' later film, ''[[The Fugitive (1993 film)|The Fugitive]]''.<ref name="introvision" />

"Most people are surprised that the film is as sophisticated as it is," Davis said. "It appeals to people who have a point of view about nuclear weapons and the story thrusts you into an incredible situation that is not far-fetched."<ref name="los"/> When the original title ''Dreadnought'' did not test well with audiences, the marketing department wanted to give the film a three word title like other Seagal films and came up with the title ''Last to Surrender''. Lawton and Seagal both hated the title, and Seagal fought to have it changed, and the film ended up with the title ''Under Siege''.<ref>{{cite web |date= 9 October 1992 |last1= Marx |first1= Andy |title= Two-word title twice as nice for Steven Seagal |url= https://variety.com/1992/film/news/two-word-title-twice-as-nice-for-steven-seagal-101248/|website= Variety|archive-date=April 21, 2025|archive-url=https://web.archive.org/web/20250421093500/https://variety.com/1992/film/news/two-word-title-twice-as-nice-for-steven-seagal-101248/|url-status=live}}</ref>

[[Robert Booth Nichols]], a self-described former espionage artist, alleged mob associate, and [[con artist]], was employed by Seagal as a technical advisor.<ref name="Lawson_2012">[[Guy Lawson]] (2012). ''Octopus: Sam Israel, the Secret Market, and Wall Street's Wildest Con''. Crown Publishing, ISBN 0307716074.</ref><ref>{{Cite web |last=Lawson |first=Guy |date=2012-06-29 |title=Black-Ops Fixers, CIA Assassins, and Families That Control Global Finance -- New York Magazine - Nymag |url=https://nymag.com/news/features/octopus-sam-israel-2012-7/ |access-date=2024-08-02 |website=New York Magazine |language=en}}</ref> He also appears in the film in a small speaking role.<ref>{{Cite web |last=Weinstein |first=Henry |last2=Feldman |first2=Paul |date=1993-03-21 |title=Trial Offers Murky Peek Into World of Intrigue : Testimony: Presenting himself as a CIA operative, a mystery man sues the LAPD for alleged false arrest that he says cost him his gun permit and millions of dollars. |url=https://www.latimes.com/archives/la-xpm-1993-03-21-mn-13734-story.html |access-date=2024-08-02 |website=Los Angeles Times |language=en-US}}</ref><ref>{{Cite web |last=McGovern |first=Joe |date=2024-02-29 |title='American Conspiracy: The Octopus Murders': Why a Chilling Scene About JFK's Assassination Is Key to Docuseries |url=https://www.thewrap.com/american-conspiracy-the-octopus-murders-interview-director-netflix/ |access-date=2024-08-02 |website=TheWrap |language=en-US}}</ref>

Casey Ryback's signature knives were designed for the film by [[Gil Hibben]].