Egton House - A Warning to the Curious uses György Ligeti's Atmosphères (1961) and Cello Concerto (1966) to signify the appearance of the ghost of William Ager, and the high, meandering flute part of another contemporary work, Bruno Maderna's Hyperion III (1966), is used in both this film and Lost Hearts. Lost Hearts also makes use of Ralph Vaughan Williams's English Folk Song Suite and the hurdy-gurdy music of the ghostly Italian boy, who plays the tune L'amour De Moi. The Treasure of Abbot Thomas was the only entry in the series to have its own original score. Geoffrey Burgon's score consists of an organ, two countertenors and various unconventional percussion instruments; according to Clark, a "mixture of evensong and bicycle chains". Films Original run (1971–1978) With the exception of the final film, the tales were directed by Lawrence Gordon Clark. The final episode was directed by Derek Lister. Revival (2005–present) BBC Four revisited the series at Christmas 2004, and in 2005 began to produce new adaptations of stories by M. R. James, broadcast along with repeats of episodes from the original series. BBC Two premiered a new adaptation by Neil Cross of M. R. James's 'Oh, Whistle, and I'll Come to You, My Lad' on Christmas Eve 2010. Mark Gatiss's adaptation of "The Tractate Middoth", another story by M. R. James, was broadcast on BBC Two on Christmas Day 2013. This was followed by a documentary, M. R. James: Ghost Writer. An original tale written and directed by Mark Gatiss entitled The Dead Room was broadcast on BBC Four on Christmas Eve 2018. Gatiss adapted and directed another James adaptation, "Martin's Close", in 2019 for BBC Four. This was followed by his third M.R. James adaptation, "The Mezzotint", for BBC Two in 2021, and his fourth, "Count Magnus", in 2022. Critical reception The critical reception of the films has been varied, but several are regarded as classic television ghost stories. Dick Fiddy of the British Film Institute notes that the late hour of their broadcasts, and the contrast with the rest of the bright lights of the television schedules during the Christmas period meant that the adaptations made such an impact; They went out late at night, when television wasn't a 24-hour experience, probably watched by the dying embers of the fire before the viewer turned in for the night; the nightmarish quality of the stories would linger as