the rocks and everything fall, and if you look carefully you’ll notice that there's rocks floating on the water. He used a double for Sandra Knight." Hill says by the end of the shoot Sandra Knight had become pregnant, "and that's why in those final scenes of the movie she's only shown above the waist and you’ll notice her breasts are four times the size they are in earlier scenes." Miller later reflected: In the rewrite I became the heavy. Now all these scenes I were played with different dimensions with fantastic character changes. So this came out at different levels, as well as my hair length and body weight. I was walking in and out of doors changing 20 pounds during this picture. And because the one part was shot in the winter and the other in the summer, my color would change. I would leave the castle white, come into the sunlight and I was practically black, really suntanned. And my hair was a different length; my sideburns were moving up and down. It was a wild thing. The tree against which Sandra Knight expires in The Terror is the same one to which Price was tied and burned in The Haunted Palace. Corman reshoots Corman says when he cut together the work of the five directors "we all had interpreted the story differently and it showed. I saw two things working against it. There were some gaps in logic; and frankly it struck me as a little dull." Corman felt the story "made sense but it had no spark. It all seemed so predictable." He also felt the lighting from the first two days was flat. Corman says that when he cut together Karloff's footage, he realized that "it didn't make sense" so he filmed a scene between Dick Miller and Jack Nicholson (in close-up because the sets had been taken down) and got them to explain the plot. This involved the twist that the Baron was not the Baron. Corman says he shot this scene between Nicholson and Miller on the last day of The Haunted Palace using the crew from that film. Nicholson later reflected on the movie fondly, saying, "I had a great time. Paid the rent. They don't make movies like The Terror anymore." Reception The film was released on a double feature with Dementia 13 in September 1963. Critical The Los Angeles