Ashton subsequently created some of the studio's most celebrated images in films, such as "The Mummy" (1959), "The Curse of the Werewolf" (1960) and "The Reptile" (1966). Ashton was particularly proud of the make-up he created for "The Curse of the Werewolf", which he claimed he created quite unaware of the make up by Jack Pierce in "Werewolf of London" or that used in Jean Cocteau's "La Belle et la Bête". Hearing in advance that Hammer were planning to make "Curse of the Werewolf", he obtained a copy of the script and spent weeks in preparation before he was approached by Keys to undertake the job. Ashton also recommended that Oliver Reed should be cast in the title role: "His powerful bone structure was just right for the appearance and his gifts as an actor were perfect for the part. In addition, he resembles a wolf anyway when he is very angry." Through Oliver Reed, Ashton met the Australian dental surgeon Phil Rasmussen, who gave useful advice about creating fangs for the werewolf make-up; so started a professional relationship which was to continue in several subsequent films.