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Alex Salmond: Why should Scotland let itself be ruled by the Tories?

People in Scotland – often the most vulnerable – are suffering from the impact of a government they didn’t elect and which cares little or nothing for their lives, says the SNP leader.

When the inconclusive result of the last UK general election became clear, there was considerable anger among some commentators – particularly from the right – that Gordon Brown was seeking to form a new administration. For our part, although we were not prepared to enter a formal coalition, I made it clear that I was open to exploring the possible involvement of the SNP in an attempt to construct an alternative scenario to what we believed would be the disaster of a Conservative-led government.

But the sense, from many both within and outside the Labour Party, was that although there had been no obvious winner, Mr Brown and Labour had been the clear losers – in England, at any rate. Although Labour had won 258 seats, many people believed that it would have been wrong to seek to form a government on that basis.

Imagine then how laughable and absurd it would have been if a party had won just a single seat in England but had not only sought to lead a government but succeeded in doing so. Such a democratic outrage is so far-fetched that it would not cross anyone’s mind as a reasonable outcome for even a second.

I assume readers in England would, rightly, refuse even to contemplate such a ludicrous possibility. And yet in Scotland today we are subject to a Westminster coalition government led by the Tories, who do indeed have the grand total of one MP north of the border. This affront to democracy gets to the heart of the independence debate. It cannot be right for a party that is overwhelmingly rejected in election after election (in the four most recent UK elections the Tories have returned zero, one, one and one MP from Scotland) to form a government pursuing policies that very few people support. In fact, for half the time since the end of the Second World War, Scotland has been governed from Westminster by parties with no majority here.

So when the Prime Minister agreed with his No campaign ally Ian Davidson, a Labour MP, that he shouldn’t come to Scotland to campaign against independence because he was “a Tory toff from the Home Counties, even one with a fine haircut”, both of them spectacularly missed the point.

I suspect both Mr Davidson and Mr Cameron know fine well that the Prime Minister’s choice of barber, background and nationality are utterly irrelevant. What is important is that people in Scotland – often the most vulnerable – are suffering from the impact of a government they didn’t elect and which cares little or nothing for their lives.

Scottish MPs have voted decisively against the bedroom tax, the welfare benefits uprating bill, means-testing for child benefit, cuts in capital spending, Royal Mail privatisation and many more coalition policies but all of them are being imposed on Scotland anyway.

Within the constraints of the Scottish Parliament, on many of these issues, there is nothing we can do. On others the Scottish government is working hard to soften the blow and to seek ways of mitigating the impact. But it makes a mockery of devolution for the Scottish Parliament to be told to divert money from other services to mitigate the impact of policies that had virtually no support in Scotland in the first place.

Because of the way public services are funded in the “devolved nations”, even policies under the control of the Scottish Parliament are under pressure from the marketising fixation at Westminster.

In 2011 I appeared on the BBC’s Question Time in Liverpool where I sympathised with people in England because of the destruction of their National Health Service that appeared to be taking place. I remarked that in Scotland we had gone down a very different route and had decided to keep the NHS in public hands. Now the shadow health secretary at Westminster is warning that the NHS is under attack and that the Tories are taking the first steps towards an American-style system. It was, of course, Labour that enthusiastically embraced the idea of competition and markets in the NHS and ripped off taxpayers by hugely expanding the ruinous Private Finance Initiative.

Labour supporters must now be watching in horror, as the journey started by their leaders could soon be completed by the Tories, with the result that universal public health provision free at the point of use could become a thing of the past in England.

It saddens me greatly to see what is being done to this great institution, but it is no longer just a case of expressing sympathy. Within the Westminster funding system, the privatisation of the NHS in England could be deeply damaging for the funding of public services in Scotland.

That is because, under the (frequently misunderstood) Barnett formula, if privatisation leads to cuts in public funding for the NHS in England this will lead to cuts to funding in Scotland. So decisions taken in Westminster by governments we didn’t elect have damaging long-term consequences for people in Scotland.

In this respect, it is important to recognise the myth that an independent Scotland will make it impossible for Labour to form a government in the rest of the UK. In fact, in only two of the 18 general elections since 1945 (October 1964 and February 1974) would the largest party at Westminster have been different if Scotland had been independent, and even then, those two governments lasted for less than 26 months in total. So Scotland’s votes within the Union have little or no influence on the make-up of the Westminster government.

But Scotland’s values as an independent country could have a much more profound impact. We could be a progressive beacon for those across these islands who yearn for a fairer society. Even before the Tories entered office in 2010, Danny Dorling, then a professor at the University of Sheffield, calculated that the UK was the fourth most unequal country in the developed world.

In Scotland we do not have such extremes of wealth but the gap between rich and poor is still far too wide. The anti-poverty campaigner Bob Holman, one who was famously sought out by Iain Duncan-Smith, recently announced that he was supporting independence. He wrote: “I was born in England, though I have lived in Glasgow for 30 years. I am a member of the Labour Party, which is against Scottish independence, but I will be voting Yes in September. My decision is not because I have strong nationalistic feelings, but because I believe in democracy and equality.”

And he went on: “An SNP government in an independent Scotland would be committed to abolishing the punishment that is right-wing welfare.”

On this he was right. But I don’t believe such a commitment is confined to the SNP. I don’t believe any government in an independent Scotland would engage in the dismantling of the welfare state we see under way in Westminster today. I would never pretend that governments of an independent Scotland – of whatever colour – will never make mistakes. I don’t believe we have higher values than anyone else. As in all democracies, there will be differences of opinion and a lively policy debate.

But since 1999, the Scottish Parliament has shown above all that taking decisions in Scotland works for the people who live here. When free personal care for the elderly was brought in, the policy was supported by every party in the parliament.

Since 2007 the SNP has resisted the marketisation of the NHS, abolished university tuition fees and removed the means test from prescriptions. We have championed the universal ideal and recently we have worked with Labour to find a way to help the disabled and other people suffering from the cruel and inhumane bedroom tax.

In an independent Scotland with control of social security, I firmly believe there would be no place for the divisive language of “scrounger v striver” which is designed to undermine the welfare state.

Last year, I was honoured to be asked to give the Jimmy Reid Memorial Lecture. In that lecture, I recalled Jimmy’s celebrated Glasgow University rectorial address in 1972, in which he spoke of alienation as “the cry of men who feel themselves the victims of blind economic forces beyond their control. It is the frustration of ordinary people excluded from the processes of decision-making. The feeling of despair and hopelessness that pervades people who feel with justification that they have no real say in shaping or determining their own destinies.”

When I recited those words I could not have imagined even then the scale of the rise in food bank use and the despair of those forced to turn to them because of the coalition government’s destructive attitude towards social security.

When David Cameron came into office, his big idea was the so-called big society. But what we see today is a shrinking society – one in which the third sector and private companies are being asked to become the public sector’s replacement, not its partner.

So Scotland could indeed be a champion of a progressive society – demonstrating a different and, I believe, a better way.

This does not mean an unreformed state. We have focused on prevention and early intervention. We have made some major reforms, such as the reduction in the number of police forces, and we have cut public bodies from 199 to 113. But we believe in a collaborative model of public services – not one based on competition.

The UK, then, is an unbalanced and unequal society in many ways. It concentrates an extraordinary amount of economic activity in London and the south-east of England. Shortly after he came to office the Prime Minister warned of the consequences. “This really matters,” he said. “An economy with such a narrow foundation for growth is fundamentally unstable and wasteful – because we are not making use of the talent out there in all parts of our United Kingdom.”

However, since then the imbalances have got worse. A recent report said 80 per cent of private-sector job creation was taking place in London. Before Christmas, Vince Cable spoke of London as “a giant suction machine”, draining life from the rest of the country. In Scotland, we have seen an improvement in economic performance since devolution. In fact, even without any revenue from North Sea oil, GDP per head is almost the same as for the UK. With oil and gas revenues our economy, per head, is substantially larger.

Far from being the oil-dependent economy depicted by those opposed to independence, Scotland has diverse strengths and our public finances are healthier than the UK’s.

We have more top universities, per head, than any other country and a food and drink industry aiming to turn over more than £16bn a year. We are major players in the life sciences, financial services, creative industries and other growth sectors. Despite the UK’s neglect of manufacturing, we still have significant manufacturers of international standing and we have enormous potential in renewable technology.

So, the issue for people in Scotland is not if we can afford to be an independent country – after all, we are one of the wealthiest nations on the planet. The issue is how best we can build economic security and create opportunities in the future. The choice is whether to continue as an economic region of the unbalanced, unequal Westminster model, or take on the powers of a national economy in an independent Scotland.

 

As with all countries, we will have challenges to overcome. The proximity of a world city such as London can be a great advantage but we need the powers to give Scottish business a competitive tax edge to counter the suction effect identified by Mr Cable. Expanding the working population is an important goal. But we are suffering from an immigration policy driven by a Westminster establishment in fear of the UK Independence Party.

Both the rhetoric and the policy are deeply damaging. The decision to abolish the post-study work visa is already having an effect. In the Scottish government’s white paper on independence – Scotland’s Future – we set out how an immigration policy can be designed for Scotland’s needs within the Common Travel Area.

In Scotland’s Future we also set out phased transformational plans for childcare, which will open up much greater opportunities for women in particular and boost the workforce. This, in turn, will boost tax revenues. Crucially, with independence, that tax revenue will stay in Scotland, rather than being sent to the London Treasury, which will allow us to reinvest to fund the policy. If the SNP was to form the first government of an independent Scotland, it will be this expansion of childcare that will be our priority, so we will not go ahead with the married couple’s allowance planned for next year.

We also propose a collaborative social partnership model to boost productivity. Our Fair Work Commission will have a remit to increase the minimum wage at least in line with inflation, and we will bring together employers and employees in a convention on employment and labour relations to look at a range of issues such as a living wage. By taking these and other measures, Scotland will become a more resilient economy. Other, comparable European countries have achieved higher growth rates and more equal societies, so we know what is possible.

And for the rest of the UK, a strong Scotland will act as a counterweight to rebalance the activity so concentrated at present in the south-east of England. These, of course, are SNP proposals. But the first government of an independent Scotland will be the government that wins the first election in an independent Scotland in May 2016.

Before that government takes office, a Yes vote this September will trigger the start of negotiations with the UK government to ensure the transition to independence. Both the Scottish and the UK governments have signed the 2012 Edinburgh Agreement, which commits us to respecting the outcome of the referendum and to working together constructively in the best interests of the people of Scotland and the rest of the UK.

On the issue of currency, the Scottish government has accepted the advice of the Fiscal Commission Working Group that a sterling-zone currency union is in the best interests of an independent Scotland and the rest of the UK. The pound is not the property of George Osborne or Ed Balls, nor even Danny Alexander. It is as much Scotland’s pound as the rest of the UK’s.

When Mr Osborne flew in to Scotland to pronounce that he would not accept such an arrangement and would refuse even to discuss the matter with us, the Chancellor chose to misrepresent the fiscal commission’s proposals. He chose also to misrep­resent the size of the Scottish financial sector and the impact of oil-price fluctuations, and offered misleading comparisons with the eurozone.

The Treasury further argued that the UK is the continuing state in international law, and so Scotland is not entitled to a share of the Bank of England, among other things. As a campaign tactic, it seems as if the UK government is insisting on the sole right
to determine what the assets are and which are the liabilities.

Despite the UK Treasury’s position, the Scottish government is continuing to be constructive. Even though the Treasury has accepted that it has the legal obligation to pay back the UK debt in the event of a Yes vote, we are willing to finance a fair share. This is dependent, of course, on receiving a fair share of the assets. It is the UK government that curiously seems to be insisting, through its line of argument, that the rest of the UK must shoulder the whole debt burden.

As Christine Bell, professor of constitutional law at Edinburgh, has pointed out, “Legally under international law the position is clear: if the remainder of the UK keeps the name and status of the UK under international law, it keeps its liabilities for the debt. The UK took out the debt, and legally it owes the money. Scotland cannot therefore ‘default’.”

This is just one reason why I believe that, despite the destructive rhetoric of the No campaign, common sense will prevail and a fair share of assets and liabilities will indeed be agreed. Besides Mr Osborne’s announcement, the No campaign has seized on comments by the president of the European Commission, José Manuel Barroso, about Scotland’s EU membership, including a preposterous comparison between Scotland and Kosovo. We have always accepted that it is for the member states to decide the route for Scotland to continue its membership of the EU as an independent country. We have also always accepted that negotiations will have to take place.

But there is nothing in any European treaty that allows for the removal of five million EU citizens against their will because they have taken part in a legal, democratic vote about how they should be governed. Mr Barroso’s comments were followed by a range of experts setting out why he was wrong.

Sir David Edward, a former British judge at the European Court of Justice who describes himself as a moderate unionist, has said there is an obligation to negotiate Scotland’s membership between the event of a Yes vote and Scotland becoming independent.

Yet even more than the legal position, we need to be clear about the EU’s very purpose. It is founded on the principles of democracy, freedom and solidarity. It is in the business of enlargement. To remove Scotland would involve turning its back on these founding values and it is entirely unclear why any EU state would contemplate such a step.

Our vision of an independent Scotland is one of a country engaging fully with the EU and the broader international community, co-operating closely with our friends and neighbours in the UK.

The close cultural and social ties across these islands will continue and, I believe, will be strengthened. We can learn from each other in a partnership of equals based on mutual respect. I passionately believe that an independent Scotland will be a more democratic, fairer and more prosperous country and that is why I believe the momentum is so strongly with the Yes campaign and why on 18 September the people of Scotland will vote Yes. 

Alex Salmond is the leader of the Scottish National Party and the First Minister of Scotland

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Starting Star Wars: How George Lucas came to create a galaxy

On the 40th anniversary of the release of the original Star Wars, George Lucas biographer James Cooray Smith shares the unlikely story of how the first film got made.

While making THX 1138 in 1970, writer/director George Lucas told composer Lalo Schifrin that he wanted to make a Flash Gordon picture, an updating of the 40s sci-fi serials that he’d enjoyed as a child. It would, however, be those serials not as they were, but how he remembered them as having been. When the rights to these proved unavailable, he began to work on original idea, hoping to create something similar, but which he would own himself.

In January 1973, after completing his 50s nostalgia picture American Graffiti but before its release, Lucas began his outline for this space adventure. The first line of this near-incomprehensible document was The Story of Mace Windu. Mace Windu, a revered Jedi-Bendu of Opuchi who was related to Usby CJ Thape, Padewaan learner to the famed Jedi.’

"Jedi" was a word Lucas had coined to describe a clan of warrior mystics who were essential to his story. A man whose fascination for Japanese cinema had become a general interest in Japanese cultural history, he’d named them after the branch of Japanese drama that drew moral and instructive lessons from stories set in the past – Jidai geki.

This version is set in the thirty-third century and features a teenage Princess, droids, an Evil Empire and a grizzled Jedi warrior, General Skywalker, whose plot role resembles Luke’s from the finished film, although his character is Obi-Wan Kenobi’s. It climaxes with a space dogfight and ends with a medal ceremony. Among the planets named are Alderaan (here the Imperial capital) and Yavin, at this point the Wookiee homeworld. Some characters from this draft (Valorum, Mace Windu) would eventually find a home in The Phantom Menace more than twenty years later.

By May Lucas had a 132 page script, The Adventure of Anikin Starkiller. Skywalker had acquired the forename Luke but was no longer the protagonist. This was Anikin (sic) Starkiller, one of the sons of General Skywalker’s old comrade, the partially mechanical renegade Kane Starkiller. Anikin had to protect a Princess, aided by two robots R2-D2 and C-3PO.

Lucas had worked backwards from Flash Gordon, looking to uncover the source of his appeal, hoping to transfer it to his own story. Once he’d worked his way through the comic strips of Gordon’s creator Alex Raymond, he tackled Edgar Rice Burroughs, Jules Verne and Edwin Arnold’s Gulliver on Mars. Conversations with his New Hollywood peers about the archetypes thrown up by his reading – and which he increasingly saw everywhere – brought him into contact with Joseph Campbell’s then newly published Myths to Live By (1972) an anthology of lectures and essays from a man who devoted his career to identifying the basic archetypal characters and situations which he felt underpinned all human mythologies.

"The book began to focus what I had already been doing intuitively" Lucas later said, an idea which seemed to him to itself reinforce Campbell’s contention that such archetypes and situations dwelled in a collective unconsciousness. Lucas expanded his reading to epics of all kinds, and began planning a visual style that would combine the vistas of Japanese master director Akira Kurosawa with the kind of static-camera realism which he’d used on American Graffiti.

Lucas wanted over-exposed colours and lots of shadows, but shot in a way that made them seem unremarkable. Seeing the Apollo missions return from the moon "littered with weightless candy bar wrappers and old Tang jars, no more exotic than the family station wagon" had illustrated to him the problem with every fantasy movie ever made. Their worlds never looked like people lived in them. His film would depict a "used future". Describing the aesthetic he’d sought to American Cinematographer he explained: "I wanted the seeming contradiction of…fantasy combined with the feel of a documentary."  To Lucas Star Wars wasn’t science fiction, it was "documentary fantasy".

There was only one studio executive Lucas thought had any hope of understanding what he was trying to do, Fox’s Alan Ladd Jr, son of the late actor. Like Lucas and his contemporaries in New Hollywood, Ladd was a man driven by a love of cinema. Lucas could communicate with him through a shared vocabulary, describe a planned scene as being like something from The Searchers (John Ford, 1956) or Fahrenheit 451 (Francois Truffaut, 1966) and be understood. Ten days after his presentation to Ladd, they signed a development deal. Fox agreed to pay Lucas $15,000 to develop a script, plus $50,000 to write the movie and another $100,000 to direct it, should it actually be made. American Graffiti associate producer Gary Kurtz was named as Producer for Star Wars, and received $50,000.

The script development money gave Lucas enough to live on whilst he continued work on the screenplay. As he did so it changed again; a ‘Kiber Crystal’ was written in and then written out. Skywalker became Deak Starkiller’s overweight younger brother before becoming the farm boy familiar from the finished film. Characters swapped names and roles. A new character named Darth Vader – sometimes a rogue Jedi, sometimes a member of the rival ‘Knights of Sith’ – had his role expanded. Some drafts killed him during the explosion of the Death Star, others allowed him to survive; across subsequent drafts his role grew. Some previously major characters disappeared altogether, pushed into a "backstory", Lucas choosing to develop the practically realisable aspects of his story.

This is an important clarification to the idea that Star Wars was "always" a part of a larger saga, one later incarnated in its sequels and prequels. That’s true, but not in an absolutely literal way. Star Wars itself isn’t an excerpted chunk of a vast plotline, the rest of which was then made over the next few decades. It’s a distillation of as much of a vast, abstract, unfinished epic as could be pitched as a fairly cheap film to be shot using the technology of the mid 1970s. And even then much of the equipment used to make the film would be literally invented by Lucas and his crew during production.

In August 1973 Graffiti was released and became a box office sensation, not only did the profits make Lucas rich (he became, at 29, a millionaire literally overnight) its success meant that Lucas was able to renegotiate the terms of his Fox deal. Rather than making demands in the traditional arenas of salary and percentages Lucas wanted control of the music, sequel and merchandising rights to his creations. Fox conceded him 60 per cent of the merchandising, aware of its potential value to them, but eventually agreed that Lucas’s share would rise by 20 per cent a year for two years after the film’s release. Few films made money from spin-off products for a whole 24 months, and Star Wars would surely be no different. Lucas got the sequel rights as well, albeit with the proviso that any sequel had to be in production within two years of the film’s release or all rights would revert to Fox.

Most important amongst Lucas’ demands was that, if it went ahead, he wanted the film to be made by his own company, not by Fox. That way he could control the budget and ensure all charges and costs made to the production were legitimately spent on the film. The experience of watching Mackenna’s Gold being made while a student on placement a decade earlier had taught him just how much money a studio could waste, and on a film like Star Wars – which was both ambitious and would inevitably be under-budgeted – it was crucial that this did not happen. Control of the music rights also had a sound reason behind it. Universal were making a fortune out of an American Graffiti soundtrack that was simply a repackaging of old hits featured in the movie. Of the profits of this Lucas saw nothing despite having selected the tracks featured and fought long and hard for their inclusion in his film.

In March 1975, Ladd took Lucas’ draft to the Fox board. They passed it and budgeted the film at $8.5m. Characters bounced in and out of that script right up to the preparation of the shooting draft, dated 15 January 1976. This was tailored to be as close to the film’s proposed budget as possible, and contain as many of the ideas, characters and situations Lucas had spent the past few years developing as he considered feasible.

This draft is the first version of the script in which Kenobi dies fighting Vader. Previously he had been injured, but escaped with Luke’s party. Alec Guinness, who had already been cast, was initially unhappy with this change, but was persuaded by Lucas that a heroic death followed by appearances as a spectral voice would prove more memorable to audiences than his spending the last third of the film sitting on Yavin whilst the X-Wings went into battle.

Filming began on location in Tozeur, Tunisia on 22 March 1976. Before shooting Lucas sat his crew down and made them watch four films which he felt between them defined what he was after in Star Wars. Stanley Kubrick’s 2001 (1969), Douglas Trumbull’s 1975 Silent Running, Sergio Leone’s Once Upon a Time In the West and Fellini’s Satyricon (Both 1969). The Leone picture was full of the sun-blasted vistas Lucas wanted to evoke for Tatooine, and the Fellini film, with its aspects of travelogue and attempts to portray an entire society in a fly-on-the-wall manner gave an idea of the "documentary fantasy" approach the director was so keen on. All four films shared one vital element: they’re windows onto lived-in worlds remarkable to audiences but regarded as ordinary by the film’s characters.

The first scenes shot for Star Wars were those of Luke buying Artoo and Threepio from the Jawas outside his foster parents’ home. Producer Kurtz had allowed 11 days for the shoot, after that a borrowed army C130 Hercules was scheduled to pick up the cast and crew.

A few days into shooting, creature make-up man Stuart Freeborn was taken ill and had to be flown back to Britain where he was diagnosed with pneumonia. Other crew members contracted dysentery. On 26 March Tunisia experienced its first winter rainstorm for half a century, damaging equipment and exterior sets delaying filming of key scenes.

Lucas wanted the stormtroopers to ride ‘dewbacks’, dinosaur-like domesticated beasts that allowed the troops to move across the desert. One dewback was built, out of foam rubber stretched over a wire frame. It could only be used in the background and no one was ever seen riding one. The other live animal Lucas wanted to portray was a Bantha, a huge horned, shaggy beast reminiscent of a prehistoric mammoth. It was to be the mode of transport for the Tusken Raiders, faintly Bedouin, vaguely mechanically-enhanced humanoids who attacked Luke in the Jundland wastes. In the end, creating the beasts proved impossible, and while they were referred to in dialogue in scenes that were shot (‘bantha tracks…’) none of their sequences were lensed.

As hard as the shoot was on Lucas, he at least had an idea of what he was trying to do and how it would all fit together. The actors, suffering stomach troubles, sunburn and long days, were less clear. Anthony Daniels trapped inside an almost immovable fibreglass body suit suffered the worst. Twenty five years later he would give credit for helping him to get through the Tunisia filming to Alec Guinness. "He was incredibly kind to me…I firmly believe that I wouldn’t have completed that arduous task of shooting without him."

Once the Tunisian shoot was over, the cast moved to EMI Elstree Studios in Borehamwood, outside of London. Star Wars was being made in the UK because it wasn’t possible to shoot the film in Hollywood at that time, not that Lucas – with his lifelong disdain of LA itself – wanted to anyway. Star Wars required nine stages simultaneously, something that no Hollywood studio complex could guarantee at anything like sufficient notice. In March 1975 producer Kurtz had flown to Italy to look at studio space, but found nothing suitable. He then caught a plane to London, where Lucas joined him.

Together they scouted UK film studios. Pinewood was a possibility, but management insisted Lucasfilm hire their technicians, a condition which became a deal-breaker. Neither Shepperton nor Twickenham had enough sound stages (although the giant Stage H at Shepperton  - bigger than any stage at Elstree – would ultimately house one scene of the film) which left only EMI Elstree. Then losing £1 million a year, Elstree was being kept open more or less on the insistence of Harold Wilson’s government, whose allies in the Trades Union movement considered the closing of the facility unconscionable. Elstree had no staff, and anyone who wished to rent it had to supply their own technicians and much of their own equipment. Off-putting to many, it sealed the deal for Lucas and Kurtz, who wanted to move their own people in. They hired the facility for seventeen weeks starting at the beginning of March 1976.

To design and build the sets needed to turn to Elstree into a realisation of Lucas’s screenplay they hired John Barry, a British designer who had worked under Ken Adam on Barry Lyndon (Stanley Kubrick, 1975) a film Lucas admired enough to hire its costumier John Rollo as well.

Elstree’s two largest stages were given over to Mos Eisley Spaceport and the interior of the Death Star. Both the Mos Eisley hangar bay and the one inside the Death Star which replaced it on the same stage were constructed around the full size Millennium Falcon set created by John Barry’s protege Norman Reynolds. Built by Naval engineers at Pembroke Dock, Wales it was 65 feet in diameter, 16 feet high and 80 feet long. It weighed 23 tonnes.

The absence of Stuart Freeborn, still recovering from Tunisia, meant that most of the aliens seen in the Mos Eisley cantina sequence were completed by assistants and lacked any articulation at all. Unhappy with the scenes as shot, Lucas resolved to do to re-shoots back in the USA.

The last scenes to be shot were for the opening battle, as Vader and his stormtroopers boarded the blockade runner. With little time Lucas used six cameras, manning one himself (Kurtz manned another) and shot the sequence in two takes. The six cameras produced so many different perspectives on the action that even the duplicated events that are in the film are unnoticeable. The finished sequence, chaotic though the creation of it was, is amongst the best put together moments in the movie, a superb evocation of Lucas’ documentary fantasy approach, and the cameras dart in and out of the action like reporters shooting newsreel footage. Virtually the first live action seen in the picture, its style later went a long way towards convincing audiences that what they were seeing was somehow real.

Principal photography completed on 16 July 1976, although some re-shoots and pick up shots for the Tatooine sequences were undertaken in Yuma, Arizona in early 1977. Amongst those scenes shot were those featuring the Banthas. Lucas borrowed a trained elephant from Marine World, and had it dressed to resemble a more hirsute, fearsome pachyderm. Mark Hamill was unavailable to participate. He’d crashed his car of the Antelope Freeway in LA shortly before and was undergoing painful facial reconstructive surgery. Although Hamill should have been involved in the re-shoot, in scenes of Luke’s landspeeder moving across the desert, Lucas had no choice but to film them without him; he took a double to the shoot, dressed him in Luke’s costume and put Threepio in the foreground. Also re-shot, over two days in La Brea, California, were portions of the cantina sequence. New cutaways and background shots were filmed to be inserted into the Elstree footage in order to eliminate as of the unsatisfactory masks as possible.

While supervising editing of the film Lucas experienced chest pains, and was rushed to hospital where he was treated for a suspected heart attack. He was later diagnosed with hypertension and exhaustion, both exacerbated by his diabetes.

Fox were by now trying to book Star Wars into cinemas, and had picked a release date in May, long before the 4th July public holiday, long regarded as the opening weekend of summer. Fox wanted $10m in advance bookings for Star Wars, desperate to recoup an investment that internal studio sources had now decided was foolish. They secured less than $2m, and achieved that only by implying to theatres that they wouldn’t be offered Charles Jarrot’s much-anticipated The Other Side of Midnight if they didn’t sign up for Star Wars too. Before its release several exhibitors complained at this "block booking" and filed suits; Fox was later fined $25,000 for the practice, punished for forcing cinemas to agree to show something which was, by the time they paid the fine, the most financially successful movie ever made.

In early 1977 Lucas screened Star Wars for a group of friends, it was nearly finished – although the opening crawl was longer and many of the special effects shots were absent, represented instead by sequences from World War II films and real combat footage shot by the USAF. Among those present were Brian De Palma, Alan Ladd Jnr, Steven Spielberg and Jay Cocks. Martin Scorsese had been invited but troubles editing his own New York, New York meant he didn’t turn up.

De Palma hated Star Wars, and spent the post-screening dinner rubbishing it to anyone who would listen. Others present were unsurprised, De Palma had behaved in the same way during the group screening of Scorsese’s’ Taxi Driver; laughing loudly through Cybill Shepherd’s conversations with Robert de Niro, and at one point shouting "Shit!" halfway through a tense scene. Only Spielberg seemed impressed, and told Lucas that he thought Star Wars would take $100m. Lucas pointed out that nothing took $100m, and countered that Spielberg’s Close Encounters of the Third Kind would do better at the box office. The two directors wrote what they considered realistic estimations of what each other’s film would make in its first six months of release on the inside of matchbooks, which they then traded. By the time Lucas got round to opening Spielberg’s matchbook and saw the figure $33m in his friend’s scrawling hand Star Wars had already made ten times that.

Odd as it seems now, when every blockbuster is prefaced by months of breathless, unrelenting media "enthusiasm", Star Wars wasn’t released on a wave of hype or accompanied by an extensive marketing campaign. It was released (on 25 May 1977) to thirty-two screens, after a barely publicised premiere at Mann’s Chinese Theatre in Hollywood. It made $2.8m in its opening week, but didn’t receive a nationwide release for two months. Despite almost unprecedented success in preview screenings, Fox were still unsure of what to do with Lucas’ bizarre children’s film. Indeed it, only got a Hollywood opening at all because William Friedkin’s Sorcerer – which had been intended for this slot at Mann’s – wasn’t finished.

So negative had advance feeling about Star Wars been that Lucas left the country; he was still in LA on opening day, finishing the sound edit (he was unhappy with the copy playing downtown, and unknowingly embarking on a lifetime of revising his movie) but the next day he and his wife (and Star Wars film editor) Marcia flew to Hawaii, where they were joined by friends, including Spielberg and Amy Irving. It was an attempt to escape what Lucas felt would be the inevitable terrible reviews and wrath of the studio. Even when Ladd called him to share his excitement over the movie’s colossal opening weekend, Lucas was unmoved; all movies labelled science fiction did well in their first few days due to the business attracted by the neglected fanbase for such things. It was only when the film continued to do outstanding business and was expanded to more and more theatres that Lucas considered returning early from his holiday, and began to realise that the film he’d just delivered had changed his life.

As "Star Wars" expanded into more cinemas, and people began to queue round the block to see it, shares in Fox climbed from well under $10.00 to $11.50 each; over the next three months the value rose to $24.62, nearly trebling in price, such was the film’s value to the embattled studio. It was a magnificent vindication for Alan Ladd Jr, who had more than once had to intervene to stop colleagues closing down the film’s production completely. He had never lost faith in Lucas and his bizarre idea, but he was virtually the only person employed by Fox itself who hadn’t.

Just a few weeks before, as the end of the financial year approached, Fox had tried, and failed, to sell its investment in Star Wars to a German merchant bank as an emergency pre-tax write off.

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