Cameron's travels: first in opposition, then as Prime Minister. Illustration: David Young.
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Captured Cameron: how David Cameron is tied down by his own party

Under pressure from party moderates, bullied by the Tory right, the Prime Minister seems caught in a trap of his own making.

There will be no party at the next general election promising more of the same. This is one of the ways that coalition has shredded British political precedent. A governing party usually tries to convince people that it deserves another term in office, while the opposition says it’s time for a change.

Next time, continuity will not be on the ballot paper. Labour will offer the most thorough upheaval but many Tories will also reject features of the government that David Cameron has led. To express authentic Conservative ambitions requires denouncing compromise with the Liberal Democrats. Meanwhile, Nick Clegg must look relaxed about regime change, as long as he can inveigle his way into the new regime. Ukip will fulminate against all the parties currently represented at Westminster.

Every one of those factors limits the scope of a Cameron re-election campaign. Downing Street believes that economic recovery will be well enough established by May 2015 to allow a plausible claim that the country has been saved from ruin. A problem for the Prime Minister is the number of people on the government side ready to belittle his role as the supposed author of that success.

The Lib Dems will echo the Conservative economic story in so far as it tells of reckless Labour spending reined in by a coalition of fiscal disciplinarians. Beyond that, Clegg’s party intends to paint Cameron as the hostage of fanatics in his party who cannot be trusted to reduce a deficit without recourse to callousness.

On Cameron’s right flank are Tory MPs who give George Osborne’s austere budgets and stingy spending reviews only grudging approval. They see austerity as the launch pad for a more ambitious assault on the whole apparatus of British government inherited from the 20th century. This is not just an economic doctrine. It is a liberation theology. It supposes that the nation’s potential is suffocated by forces inimical to free enterprise – Brussels bureaucrats, Strasbourg judges, Whitehall civil servants, trade unions, public-sector lefties who resist academic rigour in state schools and measure social progress by the size of the benefits bill.

The clearest blueprint for this brand of turbo-Thatcherism is Britannia Unchained, a collection of essays published in autumn 2012 by five MPs from the 2010 parliamentary intake. One of them, Liz Truss, is now an education minister and is sometimes spoken of as a future party leader. The volume is a call to arms against “the siren voices of the statists who are happy for Britain to become a second-rate power in Europe, and a third-rate power in the world”.

Younger Tory radicals are not offended by Cameron’s indulgence of modern social mores. They are less likely than older colleagues to be appalled by homosexuality or working motherhood. Among supporters of a rebellious amendment to the government’s Immigration Bill on 30 January, in effect repudiating Britain’s signature on the European Convention on Human Rights (ECHR), were several MPs who last year voted in favour of gay marriage. Dominic Raab, the 39-year-old Surrey MP who tabled the amendment, was one. What frustrates the new generation is the Prime Minister’s lack of crusader zeal to emancipate Albion from infidel regulation.

The Raab rebellion, rallying 85 Tory MPs, exquisitely probed Cameron’s weakness. The aim was to stop foreign criminals invoking the right to “a family life” as a defence against deportation, appealing to a strain of modern Conservatism that sees human rights law as a Continental virus ravaging indigenous justice.

In another context, the Prime Minister once said that the duty to comply with the ECHR made him feel “physically ill”. On this occasion, Downing Street let it be understood that he had “great sympathy” with the Raab rebels but could not endorse their proposal, because it contradicted existing statute. As a compromise, No 10 let government ministers abstain, leaving it to Labour and Liberal Democrat MPs to make sure parliament honoured the law of the land.

It was a ridiculous abdication of prime ministerial responsibility but not a surprise. It has become routine for Cameron to placate his restive party at the expense of his credibility, especially when anything European is involved.

Each appeasement buys a shorter respite. Last year’s pledge to renegotiate the terms of Britain’s EU membership and put the resulting settlement to the country in a referendum was meant to sate rebellious appetites and stem the flow of Conservative voters to Ukip – the concession to end all concessions. It failed.

Since then, Ukip has grown, not least because its supporters are enraged by a lot more than Britain’s membership of the EU. Meanwhile, Cameron has been forced to support a backbench motion enshrining the referendum pledge in law (binding the next parliament, in defiance of constitutional norms). When the Lords thwarted that manoeuvre, Downing Street indicated it might deploy the Parliament Act – a legislative battering ram reserved for a government’s most cherished priorities – to get the phantom plebiscite on to the statute book.

Backbenchers are also pestering No 10 to name the powers that might be “repatriated” from Brussels. They make demands – a halt to cross-border movement of labour, for example – that amount to withdrawal from the Union. This process ratchets Cameron ever further away from realistic negotiations with his Continental counterparts. In the past fortnight, both the French president and the German foreign minister have indicated that the EU will not rewrite its treaties to Cameron’s preferred timetable.

That suits the Tory militants just fine. Their goal is to ramp up expectations of “Brexit”, issuing unrealistic demands to justify the claim that Brussels apparatchiks are beyond redemption. Thus they tug Tory policy towards an unambiguous “better off out” position. It is hard to see how, if he is still prime minister after 2015, Cameron could sustain his current queasy Euro-pragmatism without facing a leadership challenge. With a year still to go, he will surely be prodded further towards the EU exit before polling day.

Downing Street hopes that recent rebellions represent a last spasm of indiscipline before MPs take fright at the prospect of Ed Miliband becoming prime minister and fall into line. While most of the parliamentary party is ready to unite in battle formation, there remains a kernel of safe-seated Tory extremists who see losing in 2015 as a staging post on the road to purification of party doctrines. Their next opportunity for organised disruption will come after the elections to the European Parliament this May. Ukip will perform well, possibly pushing the Tories into third place for the first time in a nationwide vote. No one doubts that this will provoke anxiety in Conservative ranks. The question is whether it will trigger prolonged panic.

Much depends on whether, in the intervening weeks, Labour’s lead in the opinion polls holds steady or dips towards parity with the Tories. The second scenario would suggest an economic dividend for the government, likely to grow in the run-up to a general election. That would support a view of May’s result as a self-contained protest vote. As one cabinet minister puts it: “The European elections will indicate as much about a general election as European elections always do, which is bugger all.”

However, if Labour’s poll lead is not soon whittled away, some Tories will start to calculate the rising probability that they are heading for opposition. “At that point, we go into the death spiral,” says a pessimistic MP. “The government will start to look like a mangy three-legged dog that needs to be put out of its misery.”

Nigel Farage’s popularity also has a psychological impact on Conservative associations that goes deeper than poll performance. He reminds members how uninspired they are by their own leader. Ukip has put the Tory grass roots in obstreperous mood. MPs do not dare ignore members’ concerns when high-handedness can be punished with deselection. An angry constituency association increasingly has a stronger hold over an MP than the whips’ office. Cameron is now at the bottom of the Tory chain of command with disgruntled activists at the top.

For a certain breed of Tory radical this is a healthy democratic development. More liberal-minded Conservatives see it as a continuation of the slide towards mean-spirited reaction that accounts for the party’s failure to win a majority since 1992.

There was enough concern on that front to mobilise a delegation of about 25 MPs last November to warn the Prime Minister against constant indulgence of the right-wing fringe. They were spurred into action by reports of Cameron’s dismissal of environmental policy as “green crap”, although their grumbles covered a wider range of problems. A particular source of irritation is the way the Prime Minister ignores loyalty and rewards rebellion.

It was, according to those involved, a heated exchange that left the complainants disappointed. Their intention had been to show Cameron that he could not keep taking the quiescence of his moderate MPs for granted but, in reality, he can. For all their frustration, they know that the current leadership is the most liberal one they are likely to get.

While civil war could break out if the Tories end up in opposition, the threat this side of an election is death by attrition. The rebels keep setting the agenda because Cameron’s emollient response gives them permission to do so. Moderate advisers and MPs in marginal seats are leaving, though many of them arrived in parliament as recently as 2010. Disproportionate numbers of those standing down are women. Louise Mensch quit in 2012. Lorraine Fullbrook won’t be contesting South Ribble, Jessica Lee is stepping down in Erewash and Laura Sandys, one the ringleaders of the moderates’ delegation to Cameron, is leaving South Thanet on the Kent coast. It is one of the seats that Farage is thought to be eyeing as a possible entry point to parliament.

Privately, many Tories concede that even a small exodus of women doesn’t look good. It feeds the public perception of a party in coagulation. The once-fluid culture of British Conservatism is shrivelling and hardening. Cameron has already proved that he cannot reverse this decline. Membership has halved on his watch.

The defence of his leadership is that the job is nigh impossible and that no one could have led the party better. The same argument is deployed to advertise his achievements as Prime Minister. In 2010 the country was in crisis, say Cameron’s allies, and the electorate had delivered an uncertain verdict. Yet, four years later, the coalition is still holding together, the economy is growing, the deficit is being tackled. This has been accomplished only because the Prime Minister has exhibited a combination of unyielding self-belief and intellectual agility. Thus, the two traits most often cited as Cameron’s failings – arrogance and lack of a fixed creed – are reconfigured as assets.

Yet underpinning this account is a recognition that the Prime Minister’s chief accomplishment is the running of a coalition, which will not be contesting the next election. He is par excellence the candidate of more of the same when there will be no party campaigning under that banner. There is an irresolvable tension between the man the Conservative Party proposes as prime minister – representing continuity – and its members who cry out against the status quo. That impulse might be suppressed for the duration of an election campaign but not for long afterwards.

By May 2015, David Cameron will have led the Tory party for ten years and the country for five. It was not clear to begin with what his ambitions were, other than to hold the title of prime minister, which is one reason why the voters denied him a majority. What he imagines doing with a second term is even more obscure. His leadership is defined by the constraints imposed on it. His political identity is a latticework of improvisation and compromise. His friends say his self-assured vagueness is his strength, in keeping with venerable traditions of well-meaning, patrician Tory pragmatism. That is indeed his best recommendation. But it also offers him up as a prime minister of the old school, marooned in a party and in an age that is restless for something new. 

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

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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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