as a proper effects man who gets allocated a certain budget for a movie". The shots of the emergency services rushing to the rocket crash site at the beginning of the movie were filmed in the village of Bray, Berkshire, where Hammer's studios were located. The scenes with the crashed rocket were shot in a corn field at Water Oakley, near Bray. It was originally intended to make the crash site look more spectacular by setting fire to the field but bad weather interfered. Guest used a wide-angle lens for these shots to convey a feeling of vastness to the scene. Carroon's encounter with the little girl was filmed at the East India Docks in London. A second unit, under cameraman Len Harris, conducted additional location shooting around London for the montage scenes of the police search for Carroon. For the shot of the lights of London going out when the electricity is diverted to Westminster Abbey, an agreement was made with one of the engineers at Battersea Power Station to turn off the lights illuminating the outside of the station; however the engineer misunderstood and briefly cut all the power along the River Thames. Most of the remaining location shooting was done in the Windsor area. The rest of the film was shot at Hammer's Bray Studios, with the New Stage there housing the sets for the hospital and the interior of Westminster Abbey. Michael Carreras had written to the Abbey seeking permission to film there but was refused. The rooms of Down Place, the former country house Bray Studios were built around, were used for other scenes such as Inspector Lomax's office. Art director James Elder Wills, in his final film for Hammer, made great use of the existing architecture of Down Place to enhance the effectiveness of his sets. Makeup and special effects The work of makeup artist Phil Leakey in transforming Richard Wordsworth's Carroon into the mutating creature was a key contribution to the effectiveness of the film. Val Guest, Anthony Hinds, and Leakey all agreed that the makeup should make Carroon appear pitiful rather than ugly. Leakey placed a light above the actor in the makeup chair and then worked on accentuating the shadows cast by his eyebrows, nose, chin and cheekbones. The makeup was a liquid rubber solution mixed with glycerine to give the impression of sweat. Leakey's job was made easier by Wordsworth's