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Voices of war and hope

The children of Afghanistan have never known peace in their own country. They are seldom heard, but

Dusk is falling over Kabul, and for Mortazar, a 17-year-old boy with an easy smile and a red waistcoat, it's time to go home. The silhouette of "TV Mountain", with its dense thicket of broadcasting towers, dominates the skyline. Every day, Mortazar stands for ten hours on one of Kabul's busiest streets, amid CD stalls and shop mannequins, hawking mobile phone top-up cards. He makes about $5 a day. "Nowadays I've almost lost interest in becoming something else," he says. "Maybe I'll be an interpreter if I can improve my English - or perhaps a footballer."

Afghanistan, seen through the eyes of its children, is a difficult mix of hope and hardship. Forty-seven per cent of Afghanistan's 33 million people are under 14. They have never known peace in their own country. Mortazar's family, tempted back to Kabul after the fall of the Taliban, is now struggling to survive in a dysfunctional city. The billions of dollars of reconstruction aid sloshing around have not touched their lives. "Because of the economic problems, I have to work," he says, "and everything is getting more expensive. Four years ago I was a refugee in Iran - at least there I could go to school."

With winter approaching, the poor are preparing for the cold. Chronic power shortages, exacerbated by a long-running drought, which has reduced the amount of power generated by hydroelectric dams, mean that families must make do with just a few hours of electricity each day. Most cannot afford generators and many will be unable to buy firewood.

"The government doesn't care for anyone," says Mortazar. "It's just stealing money and doing everything for itself. When the foreigners are watching, they behave. But as soon as backs are turned they just take whatever it is - blankets, food, whatever - and sell it. I've seen it happen. My sister has, too. A charity came to her school and started giving out stationery: when the foreigners left, the rest just went missing."

Saleem, a slight, ten-year-old boy with kohl smudges beneath his eyes, is more sanguine. "Whatever you say about it," he says, referring to the government, "it's better than the Taliban." His cousin Fareed doesn't comment. He is absorbed in trying to mend a battered bicycle wheel.

Fareed's bicycle repair shop is located on a dusty slip road not far from Kabul airport. Chickens scratch for food in the rubbish strewn all around, and the neighbourhood of mud and brick houses that stretches out behind is one of Kabul's poorest. "I'm open early morning until late at night," he announces proudly, glancing up at a sky pierced by a single, bright star. With calloused hands, an oily salwar kameez and serious eyes, Fareed looks older than his 15 years. He did not grow up; he was just forced by circumstance to become an adult. He doesn't go to school and his business brings in, on average, a dollar a day. "Things are not great right now," he concedes, struggling with an inflated inner tube. "But they'll soon be looking up." "The next few years are going to be good," Saleem agrees with enthusiasm, though he is unable to say why they will be good.

All the signs are that they won't be good. The insurgents, with safe havens in Pakistan's tribal areas, are well-resourced and growing stronger. Robbers and kidnappers operate with impunity and Afghans travelling by road are sometimes stopped by militants and searched for any evid ence of involvement with foreign companies or NGOs: the wrong business card in your wallet or number in your mobile phone can get you killed.

President Hamid Karzai, up for re-election in 2009, is widely perceived as indecisive and his government as corrupt. Politicians have built mansions in wealthy Kabul neighbourhoods such as Sher Pur, and Karzai's own brother, Ahmed Wali, has been accused of involvement in opium trafficking, which he denies. Last month's cabinet reshuffle came too late to inspire much confidence and relations with the British have been poisoned by a series of incidents, notably Karzai's refusal in January to accept Lord Paddy Ashdown's appointment as UN envoy in Afghanistan. The police, riddled with corruption, are in desperate need of reform, and the Afghan army, though improving, is still under-strength and unreliable.

Civilian casualties have eroded public support for Nato troops and it remains to be seen if, under Barack Obama, the troop surge will make things better or worse. Leaks and contradictory statements from the Afghan government and its western allies reveal uncertainty and division. Tentative negotiations in Saudi Arabia have shown that the militants are in no mood for deal-making - this winter, there may be no respite before the inevitable spring offensive.

Along way from the bustle, dust and razor wire of Kabul, villagers in Keshem, a district in the north-eastern province of Badakhshan, are gathering the harvest. Donkeys smothered beneath thick loads of fresh hay are driven along narrow roads hemmed in by high mud walls and clear, fast-flowing irrigation channels. The fertile Keshem valley, once famous for its poppies, is at peace.

At Jari Shah Baba girls' school, the tranquil sound of children learning Dari - a variant of the Persian language spoken in northern and western Afghanistan - by rote drifts in through the open windows of one of the classrooms. Out of a class of 15 girls aged 13, all in neat white headscarves, just one has a mother who went to school. But there is change, largely because of economic reasons. The girls here say that their fathers now support them going to school and, when asked what they would like to be when they finish studying, most shout out "doctor", "teacher" or "engineer". Educated girls make more money.

Two new school buildings are under construction with money raised by Afghan Connection, a British charity that, working closely with the Swedish Committee for Afghanistan, has so far financed the building of 30 schools for more than 30,000 children. Jari Shah Baba is one of many good news stories that can be found in Afghanistan.

Children hurry along corridors and play in the grounds outside. The air of eager optimism, in and out of the classroom, is unmistakable. "We want to work to improve Afghanistan so that it can be like other countries," is the line often repeated, but always with conviction.

The students say they are not worried about security and seem unwilling to think about it. "I used to watch the news," says one of the girls. "But it's always bombing and killing. We're bored with the fighting - we don't want to hear about it any more. I prefer to watch Indian soap operas."

Still, even in Badakhshan, the indicators of war are all around. Empty shell casings do for school bells, old Soviet tanks lie sunk in the grass, and red and green flags flutter by the roadside (marking landmines and martyrs' graves). Many Afghan officials predict that it is only a matter of time until the insurgency spreads this far north. But for now, thoughts are on future dreams.

"I want to go to university and study medicine," says 19-year-old Zulfiya. "But it's difficult." Zulfiya is fortunate to have her father's support. Of the 1,150 students at Jari Shah Baba, approximately 400 are married and many of these are already looking after their first child. Burkhas, belonging to the older girls, hang inside classrooms ready for the journey home. Expressive faces vanish suddenly behind blue nylon. For those able to compete for a place at one of Afghanistan's few state-run universities, competition is stiff. Last year, 35,000 students took the entrance exam; there was space for 10,000.

Kourban, a student from Sang Boran boys' school in nearby Baghlan province, is not worried about passing the exam - he has always been top of his class - he is worried about paying for his studies. "I'll face a lot of financial problems," he says. "I know people who dropped out after one or two years at university because they couldn't afford it."

Neither of his parents went to school and just one of his three older brothers can read and write. The family makes its living farming and there isn't enough left over to support a son studying in the city. Now aged 20, Kourban has had to spend time catching up on school years missed during the fighting.

Through Afghan Connection, his school is "twinned" to Eton College: the students exchange gifts and letters in order to attain a mutual understanding. Kourban's demeanour is usually one of calm determination but, when confronted by photographs of Eton's grand architecture and oddly attired students, he is momentarily bemused. "Can I have a scholarship?" he asks, eventually.

Like many Afghans, Kourban believes that Afghan istan would collapse in all-out war if the foreign troops were to leave. His attitude is pragmatic: "We don't have a military force capable of controlling the country," he says. "So for now, it's better for the foreigners to stay."

Others are not so sure: "If the foreigners went away, I think the problems would go with them," says Abdu Rahmin, a 14-year-old boy from Khost, a troubled province in the east that borders North Waziristan, one of Pakistan's most militant-run tribal agencies. "A roadside bomb exploded when foreign troops were driving past my school. My friend was injured in the blast; now I'm always scared something will happen."

His story, and lasting anxiety, is not unique. “My sister-in-law was killed in a bomb blast,” says Nabila, a 13-year-old girl, also from Khost. “When I go to school, I am afraid there will be a bomb on the way; when I get there I start worrying about my father – especially when he goes to the city because there are lots of security problems there.”

Afghanistan's children have learnt the vocabulary of war. When talking about violence, they quickly reduce their experiences to specifics. Terms like "security", "suicide attack" and "roadside bomb" are deftly employed by children younger than Nabila and Abdu Rahmin. These are the words used to describe their world.

"The Afghan government cannot make 30 per cent security for the people," says Abdu Rahmin, angrily. "That is the big failure and disappointment. The Taliban were bad: they didn't like music or fashionable clothes, but the one important point is that when they were in charge, we were safe."

Nabila is not interested in taking sides. Her father is old and she has no brothers to help support the family. She is worried about money, and about losing her parents and maybe being blown up. But, when asked how she compares life under the Taliban with life now, she answers without hesitation: "In the Taliban time, there was security; in this time, no." She is equally matter of fact when asked about the foreign soldiers: "I don't know about them any more. Since they came to Afghanistan, there has been more killing."

Across the border in Pakistan, a tilted half-moon hangs in the black sky above Aza Khel Afghan refugee camp in Nowshera, a district of the North-West Frontier Province, and the call to prayer rings out over the vast community of flat-roofed mud houses. People here are deeply distrustful of western involvement in Afghanistan. Militants hide among the houses.

"They say there is a problem in Afghanistan and that they are there to fix it," says Hairullah, a confident 16-year-old boy whose family originally came from Nangrahar, a province in eastern Afghanistan. "Then they say there is another problem, so they need to stay. It's obvious the soldiers are just there to cover Afghanistan and make it part of the United States."

His brothers nod in agreement. Hairullah is one of more than three million Afghan refugees living in Pakistan. He has visited Afghanistan just once, four years ago. The camp is located next to a river on the other side of the railway tracks that run along the main road. Floods regularly damage the houses and conditions are basic, but at least there is mains electricity most of the time. Many of the 9,000 families living in Aza Khel have been here as long as 30 years. Despite this, the atmosphere is one of uncertainty and impermanence.

For Hairullah, there is no question of staying. "As soon as I am a doctor," he says, "I am going back to Afghanistan to help my people. I want to make my country strong."

"I'm going, too!" interrupts his brother, Zaidullah, a small, outspoken 11-year-old. He is dressed in a turquoise salwar kameez.

"I don't like being away from my homeland. When I am taller, I am going back to help my country."

Sam Alexandroni was awarded a 2008 Winston Churchill Travelling Fellowship. For more information on the Winston Churchill Memorial Trust visit http://wcmt.org.uk

For more information on Afghan Connection visit http://afghanconnection.org

This article first appeared in the 17 November 2008 issue of the New Statesman, Obamania

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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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