Show Hide image

Dave Eggers: The long ride to Riyadh

A tense taxi journey across the Saudi desert makes the author consider the folly of nationality.

Espen Rasmussen/Panos

We are flying down an empty six-lane highway, on our way from Jeddah to Riyadh, a seven-hour drive, and I’m thinking of possible routes of escape. I’m in the passenger seat of a new Toyota sedan travelling at 140kph through the Saudi Arabian desert and I’m racing through the implications of opening my door and leaping free.

The driver is a stranger to me. He is young, no more than twenty-five, with a smooth face and a tentative moustache. His name is Shadad, but he is not a taxi driver, and this is not a taxi. This car and this driver were arranged hastily by my guide and friend, Majed, who helped me around Jeddah the previous week. Before this drive began, Majed and I considered it a decent, if necessary, idea to employ such a driver for this trip, but now I am pondering how I could leave this car. If I open the door and roll out, would I survive? And if I did survive, where would I go? There’s nothing but rocks and sand for miles in any direction.

But still. Vacating this car might be necessary, because though I want to trust this young driver, he is not really a professional driver, and he has no taxi licence, and most of all, moments ago, while he was talking to a friend on his cellphone, he looked over to me with a mischievous smile and said to his friend, “Yeah, American, boom boom.” Then he laughed. He did everything but point his finger at me and pull the trigger. I’m not sure how many ways there are to interpret this.

It did not have to be this way. I woke up this morning ready to spend the day in Jeddah, having lunch with new Saudi friends, dinner with new Saudi friends, and then fly out of Jeddah in the late evening, heading back to the US on a red-eye through London. But it was soon after waking up that I looked closely at my itinerary to find that the flight I am booked on is not leaving from Jeddah at 10pm tonight; it’s leaving from Riyadh at 8pm – five hundred and twenty-five miles away.

So I made a flurry of frantic calls back home, to airlines and travel agents, confirming that this was indeed the itinerary, and learning that there were no available flights that would get me from Jeddah to Riyadh in time. There are various reasons I need to get out of Saudi Arabia and back to the US this day, so I had no choice but to look into driving across the country, to Riyadh, to make the flight.

And I had to tell all this to Majed.

“How could this happen?” he asked. I told him I had no idea, that I was very sorry.

Majed couldn’t do the drive himself, so he and I searched around Jeddah, looking for someone who could. We made our way to the outskirts of the city and through a brief labyrinth of small alleys. Finally we reached a dead-end, where about a half-dozen men sat outside on folding chairs. It was not a taxi stand or anything like it.

“This place?” I asked. “Who are these guys?”

“Our only option,” Majed said, and got out.

I sat in Majed’s car, thinking about what had transpired the previous day. Majed and I, who had enjoyed a fluid and friendly rapport for a week, had a strange exchange, which put in question if or why he should trust me. I made a joke about American-Saudi relations, and our military, their oil, various complicities and maybe even the CIA, and from then on, things went cold. It was as if he suddenly realised I was an American, and presumably participating in my country’s various crimes, real or imagined. Since then, he had been visibly anxious to be done with me; we barely spoke, and he seemed to be counting the hours till he could be rid of me.

So I was in Majed’s car, in this alley, watching him negotiate with the group, wondering if this could possibly be a good idea, getting into a car, for a six-hour drive across the Saudi desert, with a man we meet in an alley.

Majed soon returned to tell me the price they’d arrived at. Because I trusted Majed’s judgement, and because the price was far less than what one would pay for a six-hour drive in the United States, I agreed. He and the men and Shadad chose the car we would take, among a few of them parked outside, and I took my suitcase from Majed’s trunk and put it in the trunk of this new car.
Majed and I said our goodbyes – which were far more perfunctory than I’d expected earlier in the week, when we were close – and Shadad and I took off.

And because I always trust people until I’m given a reason not to trust them, I was content. It was noon, and we had enough time to make it to Riyadh. And because I was sure we would make it in time, I relaxed and planned to watch the passing scenery and possibly take a nap. But then, ten minutes into the drive, Shadad was on his phone, talking to his friend, and while on the phone he looked askance at me, a bloated grin fattening his cheeks, and delivered the “Yeah, American, boom boom” line into his silver cellphone.

Now I’m very much awake. And I’m contemplating my options. I want to roll out of the car, but the car is now doing 160kph. We pass a tanker truck as if it’s not moving. At this speed I have no options. I’m going wherever this man wants me to go.

I want to make clear that I’ve rarely if ever felt in actual danger while travelling anywhere in the world. This could be dumb luck. It could be a combination of dumb luck, common sense and the benefits of reciprocal trust: trust and you will be trusted. Give respect and you’ll get it.

In any case, it’s a result of a gradual evolution. When I first travelled, I was naive, sloppy, wide-eyed, and nothing happened to me. That’s probably where the dumb luck came in. Then I began to read the guidebooks, the State Department warnings, the endless elucidation of national norms, cultural cues and insults and regional dangers, and I became wary, careful, savvy. I kept my money taped inside my shoe, or strapped to my stomach. I took any kind of precaution, believing that the people of this area did this, and the people of that province did that. But then, finally, I realised no one of any region did anything I have ever expected them to do, much less anything the guidebooks said they would. Instead, they behaved as everyone behaves, which is to say they behave as individuals of damnably infinite possibility. Anyone could do anything, in theory, but most of the time everyone everywhere acts with plain bedrock decency, helping where help is needed, guiding where guidance is necessary. It’s almost weird.

But every so often I have the feeling that a certain guide or driver or boat captain or acquaintance has a powerful kind of leverage, and could kill me if they wished, and no one would know, no one could trace where or at whose hands I disappeared. This is one of those situations. Only Majed knows or cares that I’m in this man’s Toyota sedan, and I am therefore at this man’s mercy. But again, I was absolutely content with and trusting of this man before he made the Boom Boom comment. And normally I would have shaken it off, giving him the benefit of the doubt. I would normally think, He’s a young man, and he made a joke to another young man on the phone, and it has nothing to do with me.

But lately things have changed. There is new information. There are the State Department warnings in 2010, which say that Saudi Arabia is not so safe for Americans, and there are the many warnings made by hotel personnel not to get into random cars or taxis. And worst of all there is the fact that I have a friend who shared, I assume, my presumption of the goodwill of all those one might meet, and this acquaintance is currently in an Iranian prison. His name is Shane Bauer.

I’ve known him professionally for about three years, primarily as a translator. Back in 2008, I had just gotten back from what is now South Sudan and had done interviews with women who had been enslaved during the civil war, and I needed help transcribing my interviews and other interviews, many of which were in Arabic. So I was connected to Shane, a young man living in Oakland who spoke Arabic. He translated many of the tapes from South Sudan, and I later helped facilitate a trip he took to Darfur to make a documentary about the rebel movement there. Then, six months later, I learned that he had been imprisoned in an Iranian prison on dubious charges of espionage. And while I’m riding in this Toyota sedan, Shane is still in the Iranian prison, fate unknown.

This is all to say that something I would have previously deemed beyond the realm of possibility – that I would personally know someone being held captive in Iran as part of an internationally denounced power play on the part of the semi-sane government of Iran – has made more realistic the possibility that this young Saudi driver might try to do something nefarious with me today. And then there is Majed, who was my friend, but who now might think I’m some kind of enemy. My mind, alone in this featureless desert highway, creates grotesque possibilities. Could Majed have set me up? Because he came to believe I was some intelligence agent, could he have handed me to someone who would profit from my kidnapping? These thoughts are shameful, embarrassing. But if Shane Bauer can be jailed for hiking near the Iranian border, is it so improbable that I could be disposed of in some way here in the Saudi desert?

I look at the car’s gas gauge. I have the thought that if the driver is running low, and needs to refill, I’ll be able to escape. I assume there’s no way he could stop me. I have half a foot of height and thirty pounds on him. Then again, there could be a secret rendezvous point where he’ll fill up his tank and hand me to someone who will pay some bounty . . .

The gas tank is full. At the very least, it will be a while before we stop for that particular reason. Looking around the dashboard, I notice that the car’s interior is still covered in plastic. This is a different way of going about things, and I’ve seen it before in other parts of the world – the reluctance to take the plastic off new cars, new furniture and bicycles. I notice that though the car seems new, there is a cassette player, and that the driver has many cassettes; I haven’t seen this many cassettes in one place in a decade or two. On the mirror itself is a simple sticker that says SAUDI ARABIA, lest he or any other driver of this car forget where they are. I notice, most of all, a blue sign hanging from the rear-view mirror that says “HELP”. Below it is an arrow pointing to an ISBN code, as if that help might come via checkout scanner.

We continue to pass other cars and trucks so fast that they seem stationary. Could he be in a hurry to bring me to his receivers, those he’s sold me to? Now he’s smoking. I try to roll down my window but it’s locked. The driver sees me trying and unlocks it. I lower the window an inch. He looks at the window disapprovingly, and I realise the effect is the opposite as desired: the smoke is crossing the car to exit above my ear. I close the window. He opens his and looks to me.

“Smoke no good?” he asks.

“Smoke no good,” I say.

“Smoke good!” he says, and smiles. He’s making a joke. This is promising, I think.

Sensing the beginnings of a human connection, I open my backpack. He seems unconcerned that I might be taking out something dangerous – another good sign. I take out a folder, where I have my itinerary and tickets and other documents, including a photo of my wife and two kids, which I had printed on an ink-jet printer before I left. In what now seems like prescience, I figured I might need such a photo, to show to a man like this, if such a man had ill-intentions toward me and might be dissuaded by seeing me as a human, as a father; who might even find my children cute and want these children to grow up with two parents and not one.

So I take the photo out and lay it face-down on my lap. And then I ask him if he has kids. He doesn’t understand, so I mime the cradling of a baby, then point to him.

He scoffs and says, “No. No baby. I am the baby!”

It’s a good joke, and we both laugh. This is good.

I turn the photo to face up, and point to it and to myself. He looks at my two children, both very young, two and five years old, and he looks at my wife, and then he sees me in the picture, and he puts it all together. He smiles, nods, and I feel like showing the photo has come off as natural, as a logical enough thing to do during a long drive. And maybe I’ve put a thought in his mind: that I am a father, that my children are young, that I seem like a regular person, probably not a spy or Halliburton contractor or collaborator with the network of government officials and oil and defence contractors who might be the target of his opprobrium.

I leave the photo on my lap for a few miles as we continue driving. He asks no questions about my family – not that he could, with the language barrier, but still, something, I hope, has changed between us. I very well could be imagining it all, but I  have no choice but to hope. He flips the cassette in the tape player and lights another cigarette.

Dave Eggers’s view from inside Shadad’s car

****

I made no decision to be an American, made no sacrifices to be called an American, did no work to be born into the place and time and conditions that the United States enjoyed in 1970 and my family enjoyed in 1970. It is chance, blind luck, random. And it’s random that this Saudi driver, now hitting 175kph, was born into a Saudi vessel – both countries are so new that identifying too strongly with their names and flags is a psychic stretch – and it would be absurd if this man, this soul-in-a-Saudi-vessel, were to harbour any antipathy toward me, a soul-in-an-American-vessel. So it makes it difficult to take a situation like this, the possibility of danger in this car hurtling through the Saudi desert, too seriously for too long.

I have the frequent thought that if the worst came to the worst, a man like this and I could together recognise the absurdity of our nationalities. You are not a Saudi, I would say, referring to a country that has only existed since 1932. I am not an American, I would say, referring to a country that has existed for 240 years. You are not a driver. I am not your passenger. We believe so little of what we would be expected to believe – we believe nothing of the foundational evil of our nations assumed by many – but we do believe that it feels good to be trusted; we believe in the constant movement of souls, the restless nature of the spirit, the profound game of make-believe necessary for either one of us to assume a set of values or motives of the other based on our passports; we believe that we are tired, so tired, of being asked to distrust or hate the people of this country or that culture, the people wearing this uniform or that one, the people who worship this prophet or that god; that we can do better than our fathers and grandfathers and forgo the pretence of rivalries and suspicions; that what we really want are not inherited antagonisms but only some measure of human and material comfort; some frequent stimulation and delight of the mind; some sense of progress for the rights of people; some possibilities and choices for our progeny and the progeny of our neighbours; the ability to love who we want to love; the ability to move freely around the planet as time and means allow.

And right now, driving with this man, what I want is to make this interaction work. I want him to feel good about having met me, and I want to feel good about having met him. One thing you learn after twenty-odd years of random travel is that the people you see along the way – the cabbies, the vendors, the hoteliers, the fellow bus passengers, the man who rents you the kayak on the Isle of Skye – you’re unlikely to see again. So you want to get it right. To get it right you have to make it right.

But I didn’t make it right with Majed. I run the incident through my mind a dozen times during this drive, watching the desert go by. What did I say that was so wrong? Some joke about the American military. Some joke about unnecessary wars. It was not so wrong. He shouldn’t have been offended. Not just offended – he changed his mind about me completely. Had our friendship been on this razor’s edge from the start? One wrong phrase and I’d fallen into league with all US foreign policy wrongdoers – that couldn’t be fair. And then I was offended that he was offended. I was finished, too. I could spend hours trying to convince him I wasn’t some agent of imperialism, or I could wait out our last day or so, allow him to put me in some random car with some random man, and be done with it. Which is what I did.

****

Hours have passed since the “American, boom boom” comment. Shadad has made various other, uneventful, phone calls since then. I have felt comfortable enough to even take a few photos out the window, and even a few inside the car, including the one opposite. Shadad didn’t seem to mind.

And now we’re stopping for gas. The station looks like any gas station anywhere in the world. Shadad stops and unlocks the doors.

He gets out, stretches. I open my door and look around. I could run this way, I think. I could make a phone call at that shop over there. I could hide over behind that shed. I could appeal to that truck driver over there.

But instead I ask the driver if he wants a snack or drink. I mime drinking and eating. He shakes his head.

I walk over to the shop next door to the gas station. Inside, there is a solitary man, in his sixties, behind the counter. He nods to me and says, “Salaam.” I nod back, return his “Salaam”.

In the shop, I think again about escape. I could stay here. I could find a way to call Majed, and ask Majed for his guidance and his help, and maybe along the way apologise for my unfunny jokes about Saudi-American relations. I would miss my flight. I would have to stay overnight in Riyadh. Majed would have to drive out to get me here, four hours away from Jeddah and into the
desert, to get me to Riyadh, or back to Jeddah, or – ? But what’s the alternative? Should I really get back in the car with a man who seemed to have promised some terrible threat to my person?

Travel is about great and illogical leaps of trust, though, so I find myself buying a soda for myself and one for the driver, and a box of crackers big enough that we can share it. And then I’m walking back to the car. Shadad is already inside, a new cigarette filling the car with a toxic cloud. I offer the soda to the driver, but he smiles, confused – Didn’t I tell you I didn’t want a drink? – and puts the car in gear, and we’re off. He doesn’t touch the soda the rest of the drive.

Night comes on as we approach Riyadh. The city’s lights overtake the darkness. I look at the clock and see that because we’ve been travelling so fast we’re almost two hours early. I want to believe that Shadad was devoted to making sure I was on time for the flight, but it’s just as likely that he wanted to be finished with me, with this long silent drive, so he can get home.

I get out at my terminal, and he helps remove my bag from the trunk. “We made it in good time,” I say. I point to my wrist and give him a thumbs-up. He nods and almost smiles. We stand outside and again we stretch.

I take out an envelope of cash and try to give it to him.

Looking confused, he refuses.

“You friend?” he says. “He pay before we leave.”

I should have known. Majed, a young man of no great means, paid for the whole ride when he met Shadad in that Jeddah alley. I think of Majed now, and I want to embrace him, to tell him how sorry I am. But now I have only Shadad, so I shake his hand, my two hands around his one hand, and he adds his second hand to mine.

Dave Eggers’s latest novel, “The Circle”, is out now in paperback, published by Hamish Hamilton (£8.99). His collection of travel writing, Visitants, will be published in the autumn

Creative Commons
Show Hide image

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.

0800 7318496