" Hammer were keen to make an immediate follow-up, and wanted to use Quatermass in their 1956 film X the Unknown ; however, Kneale refused them the rights, and they created their own substitute character, Doctor Adam Royston.

Kneale, however, was irritated with this use of the character's name in the film's credits, as he feared that the impression may be given that he had something to do with the film.

By the early 1970s however, Kneale decided there were some new avenues to explore with the character, and the BBC announced plans to produce a fourth Quatermass serial in 1972.

Tate however was a success in the part, and in a 1986 interview Nigel Kneale named him as his favourite of all the actors to have played the character.

Kneale refused permission to use Quatermass, however, but the film went ahead nonetheless with a newly created scientist character, very much in the Quatermass mould, played by Dean Jagger, and was released in 1956.

Despite this, however, she held Kneale in high esteem, describing him as “ a fantastic writer ... hugely imaginative ... considering the impact his work has had, I think he's undervalued ”.

Kneale, however, later denied that any of the news stories which The Quatermass Memoirs suggested had inspired parts of his work had ever been in his mind at the time.

He collaborated with Kneale on several further productions, and became a major figure in the British television industry.

Later, Nigel Kneale himself became dismissive of the serial, but critics gave the production relatively positive reviews.

Caruso-Cabrera and Dennis Kneale appeared on the show regularly in their respective analyst capacities until both became full co-presenters in 2009.

Kneale had since become disenchanted with the BBC, mainly because he had received no extra money when the BBC sold the film rights to The Quatermass Experiment and had turned to freelance writing, producing scripts for Associated Television and for Hammer Films.

In the critically acclaimed and influential 1950s TV series created by Nigel Kneale, Quatermass and the Pit, depictions of supernatural horned entities, with specific reference to prehistoric cave-art and shamanistic horned head-dress are revealed to be a " race-memory " of psychic Martian grasshoppers, manifested at the climax of the film by a fiery horned god.

The film was an unexpectedly big hit, and led to an almost equally popular 1957 sequel Quatermass 2again adapted from one of Kneale's television scripts, this time by Kneale himself and with a budget double that of the original: £ 92, 000.

Despite disagreements between Wallace and original script writer Nigel Kneale, the actors reported that Wallace was a congenial director to work with.

The unmade prequel serial Quatermass in the Third Reich, an idea conceived by Kneale in the late 1990s, would have shown Quatermass travelling to Nazi Germany during the 1936 Berlin Olympics and becoming involved with Wernher von Braun and the German rocket programme, before helping a young Jewish refugee to escape from the country.

Kneale, who had little involvement with the film, was unimpressed with this casting.

All three of these releases were reprinted by Arrow Books in 1979 with new introductions by Kneale, to tie-in with the television transmission of the fourth and final serial.

In 1995, BBC radio producer Paul Quinn approached Kneale with the idea of making a new radio series based around Quatermass, and the resulting project was produced and aired as the five-part serial The Quatermass Memoirs on BBC Radio 3 in the spring of 1996.

The serial had three strands: a monologue from Kneale recounting the background to the creation and writing of the original 1950s serials ; archive material from both the original productions and contemporary news broadcasts ; and a dramatised strand set shortly before the 1979 serial, with Quatermass being visited in retreat in Scotland by a reporter eager to write his life story.

A live theatrical production of Quatermass and the Pit was staged, with the permission of Kneale, outdoors in a quarry at the village of Cropwell Bishop in Nottinghamshire in August 1997.

Carpenter had previously worked with Nigel Kneale on the 1982 film Halloween III: Season of the Witch.

Although Carpenter wrote the screenplay, in the film's credits the writer is listed as Martin Quatermass, a homage repeated in the film with Kneale University.

The storyline features elements associated with Kneale ( the ancient evil aspect of both Quatermass and the Pit and The Quartermass Conclusion, the idea of messages from the future from The Road, and the scientific investigation of the supernatural from The Stone Tape ).

The Wheel was owned by Edwin Kneale from 1939 to 1965 ; he saved it from being dismantled and ran it as a tourist attraction, before passing it on to the Manx nation, with the agreement that it should be kept in perpetual running order for the people of the Isle of Man.

The director assigned to the project was Rudolph Cartier, with whom Kneale particularly enjoyed working ; the two men had collaborated on both of the previous Quatermass serials, as well as the literary adaptations Wuthering Heights ( 1953 ) and Nineteen Eighty-Four ( 1954 ).

Kneale was keen to write a story that would work as an allegory for the racial tensions that had recently been seen in the United Kingdom, which eventually culminated with the Notting Hill race riots of August and September 1958.

Morell had a reputation for playing authority figures, such as Colonel Green in The Bridge on the River Kwai ( 1957 ), and had previously worked with Kneale and Cartier when he appeared as O ' Brien in their BBC television adaptation of Nineteen Eighty-Four ( 1954 ).

Quatermass and the Pit was the last original production upon which Kneale collaborated with Rudolph Cartier, although Cartier did direct a new version of Kneale's 1953 adaptation of Wuthering Heights for the BBC in 1962.

Although Kneale would go on to use the Martian " Wild Hunt " as a deliberate allegory for the recent Notting Hill race riots, some Black British leaders were upset with the depiction of racial tensions in the first episode.

Their adaptation of the serial was released with the same title as the original in 1967, directed by Roy Ward Baker and scripted by Kneale.

A script book of Quatermass and the Pit was released by Penguin Books in April 1960, with a cover by Kneale's artist brother Bryan Kneale.

In the summer of 1953, BBC staff writer Nigel Kneale created The Quatermass Experiment, the first of several Quatermass serials.

In the same year as 2001, he appeared in the prescient BBC TV play The Year of the Sex Olympics by Nigel Kneale.

Nigel Kneale, responsible for the adaptation, said the production came about purely because Todd had turned up at the BBC and told them that he would like to play Heathcliff for them.

Professor Bernard Quatermass is a fictional scientist, originally created by the writer Nigel Kneale for BBC Television.

Nigel Kneale conceived the character of Quatermass in 1953, when he was assigned in his capacity as a BBC television staff drama writer to create a new six-part serial to run on Saturday nights in July and August.

By the summer of 1957, Kneale was working on the scripts for a third and final BBC serial.

By the early 1970s Kneale was once again regularly writing for the BBC, who announced plans to produce a fourth Quatermass serial in 1972.

Nigel Kneale had left the staff of the BBC towards the end of 1956, but on 2 May 1957 was contracted to write the new scripts on a freelance basis.

The serial was written by BBC television drama writer Nigel Kneale, who had been an actor and an award-winning fiction writer before joining the BBC.

Cartier was impressed with Tate's performance, and later that year offered him the lead role in The Quatermass Experiment, a science-fiction serial he was directing, written by BBC staff scriptwriter Nigel Kneale.

It is the second in the Quatermass series by writer Nigel Kneale, and the first of those serials to survive in its entirety in the BBC archives.

Nigel Kneale was commissioned to write a sequel to The Quatermass Experiment in early 1955, having recently signed a two-year extension to his BBC staff writer's contract.

Kneale was inspired by contemporary fears over secret UK Ministry of Defence research establishments such as Porton Down, and also by being required, as a BBC staff member, to sign the Official Secrets Act.

Cartier and Kneale were greatly displeased with this, and complained to their superiors at the BBC about it.

Like its predecessor, it is based on a BBC Television serial – Quatermass II – written by Nigel Kneale.

In the meantime, Kneale had written a new Quatermass serial for the BBC, titled Quatermass II, which was broadcast on BBC Television in October and November 1955.

In the wake of his dissatisfaction, Kneale exerted pressure on the BBC to allow him to be more involved in the sale of the rights to his work.

Despite being in the final months of his BBC contract, Kneale was allowed to collaborate with Hammer on the adaptation of Quatermass II.