the Mummy's Tomb (1971). He reprised the role of Quatermass for BBC Radio 3 in The Quatermass Memoirs (1996), making him the only actor other than Donlevy to play the role more than once. Barbara Shelley was a regular leading lady for Hammer, having appeared in The Camp on Blood Island (1958), Shadow of the Cat (1961), The Gorgon (1964), The Secret of Blood Island (1964), Dracula: Prince of Darkness and Rasputin, the Mad Monk (1966) for them. Quatermass and the Pit was her last film for the company and she subsequently worked in television and the theatre. Roy Ward Baker was particularly taken with his leading lady, telling Bizarre Magazine in 1974 he was "mad about her in the sense of love. We used to waltz about the set together, a great love affair." Roy Ward Baker first met Julian Glover when he directed him in an episode of The Avengers ("Two's a Crowd", 1965). Baker said of Glover's performance, "He turned in a tremendous character, forceful, autocratic but never over the top." Glover recalled of the role, "I think I was too young for it. [...] I think I played it all right. It was very straightforward. Bit of a stereotype. [...] The obligatory asshole!" Filming By the time Quatermass and the Pit finally entered production Val Guest was occupied on Casino Royale (1967), so directing duties went instead to Roy Ward Baker. Baker's first film had been The October Man (1947) and he was best known for The One That Got Away (1957) and A Night to Remember (1958). Following the failure of Two Left Feet (1963), he moved into television, directing episodes of The Human Jungle (1963–64), The Saint (1962–69) and The Avengers. Producer Anthony Nelson Keys chose Baker as director because he felt his experience on such films as A Night to Remember gave him the technical expertise to handle the film's significant special effects requirements. Baker, for his part, felt that his background on fact-based dramas such as A Night to Remember and The One That Got Away enabled him to give Quatermass and the Pit the air of realism it needed to be convincing to audiences. He was impressed by Nigel Kneale's screenplay, feeling the script was "taut, exciting and an intriguing story with excellent narrative drive. It needed no work at all. All one had to do was cast it and shoot