Connery and Claire Bloom) and Wuthering Heights (1962, a new version of Kneale's 1953 script, starring Bloom and Keith Michell). Lee Oswald — Assassin (1966) was a drama-documentary telling the story of Lee Harvey Oswald, based on the Warren Commission's findings, while Conversation at Night (1969) saw the first television acting appearance of Alec Guinness. Cartier's career continued into the 1970s. In 1974, he directed episodes of Fall of Eagles; and his final credit came with the play Loyalties, screened in 1976. By this time, he had worked on over 120 productions for the BBC. Subsequently, he worked for a time for the BBC's "purchased drama" department, advising on which plays and series might be bought-in from European broadcasters. Throughout his career, Cartier refused to work for commercial television: "I hate the idea of my creative work being constantly interrupted for commercial reasons, " he once commented. "I am an artist, not a salesman." Cartier was married three times, lastly to Margaret Pepper from 1949 until his death. He had one daughter, Corinne, with Pepper, and another from a previous marriage. Cartier died on 7 June 1994, at the age of 90; his death was overshadowed in the media by that of Dennis Potter, another important figure in the history of British television drama, who died on the same day. Legacy Nearly all of Cartier's 1950s television productions were performed live, and the majority of them were not recorded—he once described them as being "gone with the speed of light". Several of those which do survive have been highly regarded by later reviewers. In 2000, the British Film Institute (BFI) compiled a list of the 100 Greatest British Television Programmes of the 20th century. Voted on by a group of industry professionals, the list featured both Nineteen Eighty-Four and Quatermass and the Pit. In the accompanying analysis of each entry to the list, Nineteen Eighty-Four was described as "An early example of the power of television drama... Even now, the torture sequences retain their power to shock and disturb." Nigel Kneale, scriptwriter of both of the Cartier dramas acclaimed by the BFI, felt that the productions would not have been as successful as they were had they been handled by any other director. "I don't think any of the things I wrote then would have come to anything much in other hands. In his they worked." Television historian Jason Jacobs,