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World saved . . . planet doomed

Green activists are seeing the global economic crisis as an opportunity, but the truth remains: high

You could call it the see-saw effect: it has long been an article of political faith that as worries about the economy go up, interest in the environment must go down. It stands to reason: people who are concerned today about their jobs have more immediate matters of alarm than whether or not there may be more storms in 2055. Environmental concerns are a luxury of the rich, something we can no longer afford once the economy turns sour and recession looms. “I’m nervous,” wrote Jonathon Porritt in June – after Northern Rock and Bear Stearns but be-fore Lehman Brothers, Fannie Mae/Freddie Mac and Iceland. “Climate change is still tough for politicians to sell. This all feels very much like one of those periodic crunch moments for the sustainability agenda.”

In that same month, as the financial crisis deepened, the Oxford economist Professor Dieter Helm worried that we seemed to be seeing a "shift back to the safe territory of concrete and jobs". Certainly, David Cameron - having established his reputation with the "Vote Blue, Go Green" pledge - seemed scarcely to mention climate change any more. Alarmed, major environmental groups wrote an open letter to party leaders warning them not to drop the environmental ball, as it were. And news on the high street seemed to confirm the worst fears: sales of organic produce began to slow as worried consumers tightened their belts, while supermarkets such as Tesco dropped their environmental messages and began to focus once again on price.

Surprisingly, perhaps, the gloom hasn't lasted. Even as the news has worsened - as stock markets crashed and the jobless figures began to rise - environmental issues have stayed resolutely at the top of the agenda. In Britain the passing of the Climate Change Bill, which cleared the Commons late last month, was a major triumph for the green lobby, committing the government to much stronger targets than originally envisaged, and with loopholes on aviation and shipping firmly closed. (The bill is due to receive Royal Assent by the end of this month.) Instead of slamming the door shut on environmental issues, the crisis of confidence in conventional economics seems to have led to a surge of interest in green measures to address the crisis.

If trillions of dollars can be spent on propping up the world's banks, why cannot a similar amount be spent on shifting the world on to a greener track? Neither is a charity case: banks will eventually repay their loans and environmental investments, too, will generate a substantial return. (Indeed, US lawmakers seemed to recognise this implicitly when they attached a proviso extending clean energy subsidies to October's $700bn bank bailout.)

The election of Barack Obama is perhaps the biggest new endorsement of green issues. Can we solve climate change? Yes, we can

In the past few weeks, green economists and campaigners have noticed the emergence of an unexpected credit-crunch dividend. As Cam eron Hepburn, senior research fellow at Oxford University's Smith School of Enterprise and the Environment, told me: "The economic crisis softens people up to the scale of the numbers - $700bn doesn't seem impossible any more. In fact, the incremental cost of completely greening the world's energy system is certainly less than that per annum."

Sarah Best, a climate-change policy adviser for Oxfam, is also strikingly optimistic: "The good news is that climate and economic solutions can support rather than compete with each other," she says. "Developing a green economy offers us a way out of the present crisis. Investment in renewable energy, energy efficiency, green buildings and public transport will bring huge job-creation and enterprise opportunities."

Stressing that people in poorer countries affected by climate change should not be forgotten, Oxfam is asking for a proportion of carbon market cash to be allocated to financing climate adaptation in the developing world. The annual amount Oxfam estimates is needed for this from the UK is about £1.6bn annually. That would once have seemed like an inconceivably large bill. Now, in the present crisis, it seems small.

Even heads of state are beginning to repeat this hopeful message. The UN secretary general, Ban Ki-moon, joined the president of Indonesia and the prime ministers of Poland and Denmark this month to write a lead comment article in the International Herald Tribune which argued that "the answer" to the financial crisis and climate change "is the green economy". The authors described renewable energy as the "hottest growth industry in the world . . . where jobs of the future are already being created, and where much of the technological innovation is taking place that will usher in our next era of economic transformation".

The United Nations Environment Programme is capitalising on this sudden massing of political will by starting a Green Economy initiative, due to launch in Geneva on 1-2 December, which aims to help policymakers "recognise environmental investment's contributions to economic growth, decent jobs creation and poverty reduction", and reflect this in "their policy responses to the prevailing economic crisis".

Perhaps the biggest new endorsement of green issues has come with the election of Barack Obama, who made the word “hope” a central theme of his campaign. Can we solve climate change? Yes, we can. According to an interview he gave to Time magazine just over a week before the election, Obama sees the “new energy economy” as potentially the main “new driver” of the economy as a whole. His language leaves no room for doubt. “That’s going to be my number one priority when I get into office, assuming obviously that we have done enough to stabilise the immediate economic situation.” Obama’s climate credentials are unequivocal: he supports a US target of 80 per cent carbon-emission reductions by 2050, with a European-style cap-and-trade system as the centrepiece of his plan. In fact, the president-elect’s proposals are even stronger than Europe’s: rather than give emissions permits to industry for free, as the EU at present does, Obama proposes a system of 100 per cent auctioning, with the revenue going to fund clean energy investments and to help low-income Americans adjust to higher fuel prices. He also promises to put $150bn towards renewables investments, with the aim of creating five million new “green-collar” jobs.

According to David Roberts, a writer for Grist.org, the US-based online environmental magazine, energy and climate will be one of the Obama presidency's "three biggies" (the others being getting out of Iraq and passing health-care reform). However, he warns not to expect headline-catching announcements: "The key is the long game. Obama worked carefully, diligently and adeptly to get elected on a clean energy agenda" and will aim to secure success with his green economy plan in a similar way. Obama's response to the crisis in the US car industry gives an inkling of his pragmatism as well as his commitment: instead of offering simply to throw money at Detroit to prop up the ailing giants Ford and General Motors (which between them made a staggering $7.2bn loss in the last quarter), the president-elect has made it clear that any government support will be pegged to the industry developing higher-mileage and electric cars. For GM, which has built its entire corporate strategy over the past five years around gas- guzzling sports utility vehicles, this represents the ultimate humiliation.

In the current climate of political optimism, it seems that just about everyone is thinking imaginatively. Al Gore is proposing that the entire US electricity sector be decarbonised in the next ten years, and has been running post-election TV ads titled "Now what?" (answer: "Repower America"). Even Google has a plan - "Clean Energy 2030" - and has begun to shift its own investment towards renewable technologies. In the EU, fears that a group of countries that rely heavily on coal for power generation - including Italy, Poland and Latvia - could intervene to thwart climate targets have lessened, thanks to skilful diplomacy by President Nicolas Sarkozy. And the prospect of the credit crunch derailing this year's UN climate-change talks in the Polish city of Poznan also seems to have been averted; on 14 November, Australia's top climate diplomat, Howard Bamsey, reassured journalists: "I haven't detected any change in approach as a result of the financial crisis."

But how much of this is merely rhetoric? The financial storm has already inflicted grave damage on the clean energy sector; shares in wind and solar power companies have tumbled in the last quarter, some by as much as 75 per cent, as credit funding for capital projects dries up and power companies cut back on their investment plans. “If you can’t borrow money, you can’t develop renewables,” says Kevin Book, a senior vice-president at the investment firm FBR Capital Markets.

The swingeing cuts in carbon emissions needed to avoid catastrophic climate change are still politically and economically inconceivable

Demand for energy has slowed because of the economic crisis, pushing down the price of oil. This in turn has made solar and wind projects that looked profitable when oil was trading at $140 a barrel appear decidedly less attractive with the price of crude back down below $60. T Boone Pickens, the famous US oilman-turned-wind enthusiast, has quietly postponed his plan to build the world's biggest windfarm on the Texas panhandle, due in part to the falling price of oil. Tesla Motors, the California-based auto manufacturer whose all-electric sports car made headlines across the world in the spring, has been forced to cut jobs.

Gas prices have also fallen on international markets. "Natural gas at $6 [per thousand cubic feet] makes wind look like a questionable idea and solar power unfathomably expensive," says Kevin Book from FBR Capital Markets. Falling prices on the EU's carbon market - from ?30 in July to ?20 in November - have also made clean energy projects less competitive. (Despite this short-term blip, most analysts expect the long-term trend in oil prices to be up - the Inter national Energy Agency's executive director, Nobuo Tanaka, warned on 12 November that oil depletion rates seemed to be increasing, and that "while market imbalances will feed volatility, the era of cheap oil is over".)

Perhaps an economic collapse can save us by reducing emissions? After all, the reason the oil price is falling is that people are consuming less fossil energy. But according to Kevin Anderson and Alice Bows of Manchester University's Tyndall Centre for Climate Change Research, the collapse would have to be profound indeed to be sufficient on its own to bring about the emissions decline the planet needs. They estimate that in order to have even a 50-50 chance of keeping global temperatures from rising above 2° higher than pre-industrial levels (the stated aim of EU policy, among many others), the world must see energy-related carbon emissions peak by 2015 and decline thereafter by between 6 and 8 per cent per year. Anderson and Bows remind us that while "the collapse of the former Soviet Union's economy brought about annual emissions reductions of over 5 per cent for a decade", that still isn't quite enough. The suggestion is not that we should aim for a Soviet-style economic implosion, but that the dramatic cuts in carbon emissions needed to avoid catastrophic climate change are still politically and economically inconceivable.

"Green growth" can offer a positive way forward in the short term, but the impossibility of reconciling an endlessly growing economy with the limitations of a finite planet cannot be avoided. Even though, in Cameron Hepburn's words, a "dematerialisation of the economy is feasible in a thermodynamic sense", this hasn't happened so far anywhere - rising GDP is pegged to rising material consumption, and thereby to a rising impact on the environment.

The ecological economist Herman Daly says humanity should aim for "qualitative development", not "quantitative growth". He concludes drily: "Economists have focused too much on the economy's circulatory system and have neglected . . . its digestive tract." The financial crisis is certainly a circulatory ailment, but once it is solved the bigger challenge will remain - that the biosphere has limited sources for our products, and limited sinks for our waste. And that is the ultimate question politicians, environmentalists and economists will have to focus on answering if our ecological crisis is ever to give way to true long-term sustainability in the century ahead.

Mark Lynas's latest book is "Six Degrees: Our Future on a Hotter Planet" (HarperPerennial, £8.99 paperback)

The green economy: ten global facts

The London Array, planned for the Thames Estuary, could become the world's largest offshore windfarm.

A proposed tidal barrage over the River Severn could provide 5 per cent of the UK's electricity. It would cost £15bn and cut carbon emissions by 16 billion tonnes a year.

Barack Obama will invest $150bn in renewables, in the hope of creating five million new jobs in the US.

Abu Dhabi's Masdar Initiative, launched in 2006, will invest $15bn in global green energy. It will take eight years and cost $22bn to build Masdar City (model right), which will rely entirely upon renewable energy.

Qatar is investing $150m in developing green technology in the UK.

There is one large-scale commercial tidal power station in the world - in Brittany, France. It has operated for 30 years without mechanical breakdown and has recovered the initial capital costs.

Consumer goods in Japan will soon be labelled with their carbon footprints. Producing a packet of crisps emits 75 grams of CO2.

Nine out of ten new cars in Brazil use ethanol-based biofuels. Flex-fuel vehicles make up 26 per cent of the country's light vehicle fleet.

Since 2006, disposable chopsticks in China have been taxed at 5 per cent, safeguarding 1.3 million cubic metres of timber every year. Green venture capital accounts for 19 per cent of China's investments.

The Australian government has invested $10.4bn in making 1.1 million homes more energy-efficient, creating 160,000 jobs.

Samira Shackle

Mark Lynas has is an environmental activist and a climate change specialist. His books on the subject include High Tide: News from a warming world and Six Degree: Our future on a hotter planet.

This article first appeared in the 24 November 2008 issue of the New Statesman, How to get us out of this mess

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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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