Land of blue gold

In a region fraught with mutual distrust, anxieties over water supply are raising tensions between I

Almost anything the Dalai Lama does can trigger protests from Beijing. But his November 2009 visit to the disputed territory of Tawang, in the remote north-east Indian state of Arun­a­chal Pradesh, was felt with particular resonance in China's capital. Relations between India and China have been bad-tempered for months, with nationalists on both sides urging their respective governments to act tough.

The Dalai Lama's presence in Tawang - which China sees as southern Tibet, and which was the birthplace of his eccentric but talented predecessor, the sixth Dalai Lama - reminds Beijing that this was once Tibetan territory. The current Dalai Lama first came through these parts in 1959, as a young refugee fleeing Chinese rule. He never returned to Lhasa. India's open-hearted hospitality to exiled Tibet­ans has annoyed Beijing ever since.

Arunachal Pradesh, nearly 33,000 square miles of lightly populated mountain and valley, is claimed by both India and China. Its people, largely Buddhist and ethnically Monpa, speak a language similar to Tibetan and have suffered long years of neglect by both states: a condition they no doubt prefer to being fought over. During the Indo-Chinese border war of 1962, Chinese troops occupied Tawang for more than a month. Now, China is reasserting its claim. India, in turn, is claiming more than 14,700 square miles of Chinese-controlled Aksai Chin, near the Kashmir border. Talks between the two countries have been held repeatedly over the past four years without resolution.

Today, the line of actual control is heavily patrolled by both nations: on the Indian side by troops housed in ramshackle, temporary huts, and on the Chinese by soldiers in concrete barracks marching along well-paved roads. The contrast has not escaped the notice of local people and is taken as a signal of intent.

The Dalai Lama's presence in Arunachal Pradesh and the warm welcome he received from his devout Monpa following are symbolic of the antagonism. But Beijing also issued a strong protest when the Indian prime minister, Manmohan Singh, visited Arunachal Pradesh last October during an election campaign.

Historically, China is Pakistan's ally and many in India believe that China maintains pressure along the 2,500-mile border that the two countries share to keep Indian forces tied down. There have been alarming reports in the Indian press of repeated incursions across the line of control by Chinese troops. The Indian government plays these incidents down, pointing out that the boundary is not only disputed but also ill-defined, and that these incursions need not be taken as provocation.

Behind the immediate stresses, there is jockeying for regional and international influence by two large, utterly developing economies, built on radically different political philosophies and lying in a region with both live and frozen conflicts. After 1962, relations were hostile for decades: China and Pakistan became ­allies, and India turned for support to China's enemy, the USSR.

The end of the cold war brought new conflicts based on ethnicity and religion, in a region with four nuclear powers. Recently, India has been alarmed by China's increasing presence in Sri Lanka and Nepal, historically Indian spheres of influence. Now, there is another factor to complicate relations - the impact of climate change on states divided by political boundaries but united in their dependence on the rapidly melting Himalayan glaciers for water, essential both for security and life itself.

Just a few miles across the line that divides Arunachal Pradesh from Tibet, the powerful torrent of what becomes the Brahmaputra River enters one of the most dramatic passages of its 2,000-mile journey to the Bay of Bengal. Rising on the slopes of the holy mountain of Kailash in western Tibet, it flows east, along the northern flank of the Himalayas, then enters one of the deepest gorges in the world, executing a hairpin bend before roaring south into Arunachal Pradesh.

To the engineers dominating the upper echelons of Chinese politics, who have the twin concerns of meeting China's ever-growing demand for energy and its need for water, the great bend of the Brahmaputra seems to offer an irresistible temptation.

Dammed if they do

Damming the great bend of the Brahmaputra is an idea with a long pedigree. It was first suggested as one of a series of global "megaprojects" by the Japanese in the 1970s. More recently, the Chinese government has made occasional reference to the plan. Though it remains a drawing-board idea, India suspects it is moving up the Chinese list of priorities.

Anxieties about China's intentions were inflamed in 2005 by the publication of the provocatively titled Tibet's Water Will Save China. Though it was not an official statement of policy, it was written by a former officer of the Chinese People's Liberation Army, Li Ling, and its wide circulation gave it sufficient stature in Indian eyes to merit careful scrutiny. Ling's enthusiasm for diverting Tibet's rivers, including the Brahmaputra, to northern China to alleviate the acute water crisis there fitted enough of the facts to set alarm bells ringing.

In many ways, it is an implausible project, but China's engineering record and its demonstrated love of ambitious dam projects are troubling to its neighbours, so much so, that many in India's security establishment have said that if China were to dam the Brahmaputra, it would be tantamount to a declaration of war. Doubts about the feasibility of the project, including those expressed by the more sober Indian civil engineers, have not dampened wider fears. For India, concern about China's ambitions for the Himalayan region rivals - and is linked to - its long-standing enmity with Pakistan. In the heated atmosphere of mutual suspicion, water has taken its place as a critical national security concern.

At a meeting between the Indian and Chinese foreign ministers in Bangalore in October, India sought, and reportedly received, reassurances over the Brahmaputra. China, Indian officials were told, is a responsible country that would not harm the interests of its neighbours. But reports that remote sensing has detected the beginnings of construction on the river at Zangmu, Tibet, continue to circulate.

Both India and China suffer long-term anxieties over water, now rendered more acute by the rapid melting of the glaciers of the Himalayas (from which all of the great rivers of Asia derive to some degree). In a region fraught with mutual suspicion and reciprocal bad faith, there are no source-to-sink, trans-boundary water management agreements in place and, currently, little prospect of any being negotiated to manage the sharing of what threatens to be a rapidly diminishing supply.

The dispute works both ways. While India protests about Chinese infrastructure investments in Pakistan-controlled Kashmir, which include roads and a £7.8bn dam, India has its own plans to dam the Brahmaputra in Aruna­chal Pradesh, which China opposes. India has drawn up plans for 42 dams in Arunachal Pradesh, which have the potential to produce nearly 28,000 megawatts of hydropower, equivalent to the entire hydro capacity built by India in the past 60 years.

The dispute over the dams went international in June when China attempted to block an Asian Development Bank loan that included £37m for projects in Arunachal Pra­desh. The bank should not invest, China said, as the state was disputed territory. India responded by saying that it would finance the projects itself and stepped up its military presence in the region, deploying another 60,000 troops to the neighbouring state of Assam in addition to the 40,000 already stationed there. The shadow war games rapidly spread across the Himalayas, as China initiated military exercises. In September, India responded by stepping up the state of alert on the line of control in Kashmir.

The status of India's legal claim to Arunachal Pradesh is complicated and rests on the unresolved argument about the historic status of Tibet. It centres initially on an exchange of notes during the negotiation of the Simla Accord in 1914, under Henry McMahon, the then foreign secretary of British India. China, Tibet and Britain negotiated the accord, which resulted in the contentious McMahon Line that, for the British at least, defined the border between India and Tibet. The Tibetans conceded the territory that became Arunachal Pradesh to British India in return for a British promise, never honoured, to recognise Tibetan autonomy.

Chinese water torture

China rejected the Simla Accord and insists that Tibet did not have the status to sign any international agreement. If India were to rest its case on the accord, it would imply that Delhi recognised Tibet's authority to negotiate and conclude international agreements: a step that Beijing would take as severe provocation. The British, at the time, insisted on a distinction ­between China's acknowledged "suzerainty" over Tibet and full sovereignty, but the picture was further complicated last year when the Foreign Office abandoned the distinction, for current policy at least, as "anachronistic".

After Simla, neither side paid much attention to the disputed territory, and the Tawang monastery continued to pay taxes to Tibet until the 1950s. Shifting regional geopolitics have made this, and other Himalayan regions, the focus of potentially dangerous rivalries.

For the Tibetans in exile, these developments carry their own threat. Rising tension between their Indian hosts and Beijing is not good news. India has been a generous host to some 150,000 Tibetans who now live there, to the Dalai Lama and his government in exile, and to refugees who continue to arrive.

Yet there are voices in India which argue that, in the face of China's growing assertiveness, the cost to India of this spiritual and material solidarity is getting higher. It is not hard to find Indian analysts who believe that both India and China need a comprehensive agreement on the main points of contention between them - the border and the disputed territories, the fair management of declining water supplies, and the scientific and technical co-operation that such agreements would demand.

The question that many ask, but nobody has yet answered, is whether the price of a comprehensive agreement will be the special status and security that India's Tibetan exiles have enjoyed for more than half a century. Such a bargain would certainly please Beijing. For India, it is still a long way from official policy, but some argue it would be a price worth paying.

 

Isabel Hilton is editor of chinadialogue.net

 

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This article first appeared in the 18 January 2010 issue of the New Statesman, Palin Power

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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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