it." He was also impressed with Hammer Films' lean set-up: having been used to working for major studios with thousands of full-time employees, he was surprised to find that Hammer's core operation consisted of just five people and enjoyed how this made the decision making process fast and simple. Quatermass and the Pit was the first film the director was credited as "Roy Ward Baker", having previously been credited as "Roy Baker". The change was made to avoid confusion with another Roy Baker who was a sound editor. Baker later regretted making the change as many people assumed he was a new director. Filming took place between 27 February and 25 April 1967. The budget was £275,000 (£ in ). At this time, Hammer was operating out of the Associated British Studios in Elstree, Borehamwood. A lack of space meant that production was relocated to the nearby MGM Borehamwood studio. There were no other productions working at the MGM Studios at this time so the Quatermass crew had full access to all the facilities of the studio. Roy Ward Baker was particularly pleased to be able to use MGM's extensive backlot for the exteriors of the Underground station. The production team included many Hammer regulars, including production designer Bernard Robinson who, as an in-joke, incorporated a poster for Hammer's The Witches (1966) into the dressing of his set for the Hobbs End station. Another Hammer regular was special effects supervisor Les Bowie. Roy Ward Baker recalled he had a row with Bowie, who believed the film was entirely a special effects picture, when he tried to run the first pre-production conference. Bowie's contribution to the film included the Martian massacre scene, which was achieved with a mixture of puppets and live locusts, and model sequences of London's destruction, including the climactic scene of the crane swinging into the Martian apparition. Music Tristram Cary was chosen to provide the score for Quatermass and the Pit. He developed an interest in electronic music while serving in the Royal Navy as an electronics expert working on radar during the Second World War. He became a professional composer in 1954, working in film, theatre, radio and television, with credits including The Ladykillers (1955). He said of his assignment, "I was not mad about doing the film because Hammer wanted masses of electronic material and a great deal of orchestral music. But I had three