When Dr. Roney is picking at the eyeball of the dead Martian creature in his laboratory the pupils of the compound eye are a rectangular slot shape rather then round like a human eye. This is reminiscent of a goat's eye, a creature that has for centuries been associated with witchcraft and sorcery.
The outside broadcast television cameras (and the TV channel glimpsed on a pub monitor) bear the genuine logo of ITV regional broadcaster ABCTV - ironic for an adaption of a serial made by the rival BBC channel.
A Sony CV-2000B Videocorder - a very early and primitive form of videotape recorder - is on display during the sequences in which the Martian race memory is both recorded and later played back to the skeptical military.
Of the three Hammer Horror "Quatermass" films, this is the only one which "Quatermass" creator Nigel Kneale personally liked. This was largely to the fact that he was much happier with Andrew Keir's performance as the title character than he had been with Brian Donlevy's in The Quatermass Xperiment (1955) and Enemy from Space (1957). He described Donlevy as "a former Hollywood heavy gone to seed" and claimed that he was drunk during much of the shooting of the latter film, a claim which its director Val Guest repudiated.
Despite not personally connecting with director Roy Ward Baker, Andrew Keir felt that the crew gelled together extremely well as a unit. This can partly be attributed to the fact that - prevented from lensing as planned at a full-up Elstree - the production team enjoyed the luxury of having the entire run of the empty MGM studios.
The producers requested both orchestral and electronic cues from composer Tristram Cary in order to have a choice of scores to use. He provided around thirty minutes of symphonic music plus electronic pieces (to represent the Martian threat), though much of it was lost during post-production editing and recutting, occasionally being replaced with stock tracks.