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Special investigation: a charter for torture

In Afghanistan, British forces hand over prisoners with only flimsy guarantees they will not be abus

What is striking about the history of torture in Afghanistan is that no matter which regime is in power - the communists, the mujahedin, the Taliban and now Hamid Karzai's western-supported government - the methods remain the same. From the 1980s to the present day, electrocution and beating have been the principal weapons used against those the state deems dangerous or undesirable.

A former jihadi recently told the London-based Bureau of Investigative Journalism about the similarity in treatment between his arrests in the 1980s and in late January 2009. "In Afghan­istan, some types of torture are common and these are beating and electric shocks, given twice a day," he said. "I was tortured at nine in the morning and again from two to three o'clock in the afternoon.

“They kept me in a toilet, kept me thirsty and hungry, and used to hang me upside down for 20 to 30 minutes at a time. I was frequently threatened with death. I was not allowed to meet my family during either imprisonment."

He was released after 25 days, once the elders of his tribe had paid the equivalent of £2,000 in Pakistani rupees.

In another case we investigated, a father was forced to listen to the torture of his 20-year-old son and 16-year-old nephew. The family's ordeal began at 3am one day in early March this year, after a team of Afghan and foreign intelligence operatives broke down the door to his home in a village in eastern Afghanistan, near the border with Pakistan. They took Shamsuddin (not his real name) and his son and nephew, put black hoods on their heads and accused them of being insurgents. Shamsuddin told us that his brother, the father of his nephew, had been killed by a Taliban bomb just eight months earlier. He said it was "impossible" to have the idea that they could be Taliban fighters.

The three men were taken to the area of Kabul where most foreign agencies and missions are sited, including the US embassy, the centre for Nato forces and CIA headquarters.

He described being handcuffed, hooded and beaten over several days, but said that for him this was not really torture. The unbearable thing was to hear the agony of his son.

“There was a window like a hole in the door. I was trying to see what was happening to my son. You know a parent always longs to know what is happening to his child. I could hear the sound of the instrument beating my son. I felt his pain as if it was my own, and I heard my own son shouting and screaming.

“I wasn't normal. Hearing your son shout and scream and call on God. From the sound of the instrument they used to beat him, it wasn't wood or a fist, but sounded like a length of rubber or electric cable. It lasted for an hour each time. They were asking questions, but I couldn't hear what they were asking. I could just hear the sound of him screaming and the sound of rubber or a cable whipping him."

Shamsuddin has since been released, but his son has not. His fate is unknown.

What makes many of the reported cases of torture in Afghanistan so disturbing is not just that the western invasion was supposed to end such practices, but that the Allied forces have, in effect, been colluding in such treatment.

Last year, the high court in London heard testimony from ten men accused of insurgency, all of whom had been beaten by members of the Afghan authorities after being surrendered to them by British or American forces between 2007 and 2010. Their stories make grim reading: "Prisoner X said that metal clamps had been attached to parts of his body. He gestured to his forearms, upper body and chest . . . he had been electrocuted six times. He said that he had been beaten with an electric cable, about a metre long and one inch thick. He was beaten by the commander, a small fat man. He still had marks on his back."

It is also alleged that Prisoner X was raped by a senior Afghan officer at the detention facility in Lashkar Gah. Other stories heard in court included those of Prisoner A, who spoke of being hung from the ceiling and beaten, and Prisoner D, who was electrocuted while blindfolded. Prisoner E told the court that "every night of the 20 days of investigation at Lashkar Gah he had been beaten".

Counsel for the UK Ministry of Defence (the period of investigation covers the tenures of John Hutton, Bob Ainsworth and Liam Fox) has admitted that some of these allegations are "credible" - and even the high court judgment warned that they should not be dismissed.

And yet, a joint investigation by the New Statesman and the Bureau of Investigative Journalism shows that the world's most powerful military nations have responded not by trying to right these wrongs, but by attempting to sweep away the fundamental provisions of the Geneva Conventions.

The problem is simple, yet horrifying. British troops regularly hand over suspected insurgents to the Afghan authorities, even though torture and abuse are rife in Afghanistan's detention facilities. They do this, too, knowing that it is a breach of international law to transfer detainees to the custody of another state where they may face a risk of torture. This is enshrined in the Geneva Conventions of 1949, the Convention Against Torture of 1984, the International Covenant on Civil and Political Rights of 1966, and the European Convention on Human Rights (1950).

“The prohibition to transfer a person to a jurisdiction where he or she may be tortured is absolute in international law," says Dr Juan Méndez, United Nations special rapporteur on torture. "The operative part of this prohibition is not the torture itself, but the very risk of torture." And although there has been an official response to allegations of this sort, you could be forgiven for not having heard of it. Called the Copenhagen Process, it has received little publicity. Its meetings are closed. Its full membership is secret. Human rights groups such as Amnesty and other interested non-governmental organisations have been excluded.

What we do know is that it is led by the Danish government and it involves 25 nations (including the US and UK), as well as Nato, the EU, the African Union and the UN. Since 2007, these players have been pushing to establish a common framework for detainee transfers in Iraq and Afghanistan. In grim committee-speak, it aims to produce an "outcome document", which it hopes will receive approval from the UN and individual countries.

The starting point for those around the Copenhagen table is that, while the principles of humanitarian and human rights conventions may be set in stone, 20th-century law is out of kilter with 21st-century conflict. Military nations need a get-out clause from the Geneva Conventions.

Thomas Winkler of Denmark's ministry of foreign affairs is leading the charge. "The dil­emma is . . . [you] have a huge body of law but, when you have to apply the law in these types of conflict or operations, we have met a number of challenges . . . that you detain somebody and that you believe that the individual either is a security threat or a criminal, how do you then deal with it?" he told the Bureau.

Winkler maintains that the Copenhagen Process meetings have been "closed" to encourage openness by the states and organisations involved. He says that the International Committee of the Red Cross (ICRC) is now attending meetings, and NGOs will be invited to contribute later this year, once the final draft outcome document has been drawn up. The ICRC distances itself from this assertion. A spokesperson says it was invited to participate in the process, but purely as an observer.

The present military rules in Afghanistan say that Nato-led forces have to hand over anyone they capture to the Afghan authorities within 96 hours. So far, the forces have attempted to comply with their human rights obligations by obtaining written assurances from the Afghan government, known as memorandums of understanding, or MOUs. The aim of the Copenhagen Process is to codify these assurances into international law.

As the high court testimony from the ten detainees shows, it appears that these MOUs are not always successful in protecting detainees from torture. Prisoner A told of multiple night-time beatings in an underground cell. Prisoner C recounted being hung from a ceiling for three days and nights. A common theme is the men's inability to identify their abusers - the beatings often took place under cover of darkness, or with the men blindfolded - but in those cases where identifications were made, senior officials were implicated.

“The use of memorandums of understanding is among the worst practices that states are currently engaging in," says Matt Pollard, a senior legal adviser at Amnesty International. "In effect, it is resulting in states bypassing their obligations not to transfer people to risk of torture. Basically states say: 'Yes - I'm not supposed to transfer a person to you if you're going to torture them - so please just promise me you won't torture them.' We've said categorically that that type of practice is actually undermining the prohibition of torture and other ill-treatment and other human rights obligations. It's one of the worst practices in terms of its effect on the system of human rights protection as a whole at the moment."

Juan Méndez agrees. "Diplomatic assurances do not relieve the sending countries of their state responsibility for having committed a serious breach of an international obligation." He argues that changes to the way MOUs are used "are unnecessary if the receiving country is not a torturing state and are utterly meaningless if the receiving country is known to engage in a pattern and practice of torture".

Then Méndez goes further, and makes a statement that is remarkably forthright for someone in his position. "In the course of the so-called 'global war on terror', countries have been transferring prisoners not despite the risk of torture, but precisely to facilitate torture - and to obtain the dubious intelligence thus gathered. I fear that an agreed-upon regulation of these transfers will be seen by some [prisoner-] sending countries as a way of legitimising what is clearly wrongful conduct on their part. If so, the agreement will not succeed in curbing torture and may well provide a veneer of legitimacy to it."

It's a view echoed by Brad Adams, Asia director of Human Rights Watch, who says that the detainees' well-being is put second to western armies' convenience. "The US, UK and others with troops in Afghanistan want to be able to capture real or alleged insurgents and interrogate them," he says, "but they do not want to build or run detention centres in Afghanistan. So they do the expedient thing and hand them over to the Afghans. For the most part, they have no idea what happens next.

“It's a hear-no-evil, see-no-evil policy of wilful blindness to the risks to detainees. And, to make matters worse, we know that many people detained in Afghanistan turn out to be completely innocent."

The organisation to which detainees are handed over is the National Directorate of Security (NDS), Afghanistan's external and domestic intelligence agency. Its track record is deplorable and the evidence of torture at its detention facilities is overwhelming. Since 2005, there has been a raft of reports detailing how torture is rife in it and other state institutions.

In 2007, the UN high commissioner for human rights reported that the NDS's use of torture and other forms of ill-treatment was frequent. Every year since then the same concerns have been reiterated.

In 2009, the Afghanistan Independent Human Rights Commission reported that "torture was commonplace among the majority of law-enforcement institutions". It identified 398 victims and detailed the methods of torture: sexual abuse; branding with iron bars; use of tools, a lawnmower, tyre rods, staplers; flogging with electric, iron and plastic cables on the back, waist, feet, head, face and other body parts; beating with rods while blindfolded with hands and feet tied; use of electric shocks; victims continuously chained and shackled. The report concluded that no one had been prosecuted for any of these cases.

Even the US state department country report on Afghanistan published in 2010 referred to methods of torture and abuse. These included, but were not limited to, "beating by stick, scorching bar, or iron bar; flogging by cable; battering by rod; electric shock; deprivation of sleep, water and food; abusive language; sexual humiliation; and rape". Against this backdrop, a memorandum of understanding seems a flimsy safeguard indeed.

In 2009, the Canadian diplomat Richard Colvin created a storm when he revealed that, despite an MOU, Canada did not monitor detainee conditions in Afghanistan, and that detainees transferred by the Canadians to Afghan prisons were probably tortured. "According to our information, the likelihood is that all the Afghans we handed over were tortured," Colvin said. "For interrogators in Kandahar, it was a standard operating procedure."

He said his reports were ignored and eventually senior officials told him to stop putting his concerns in writing. Denmark's Winkler accepts that MOUs are not sufficient in themselves. Central to their success, he explains, is "aggressive monitoring": to try to ensure that the host nation - through the Afghan authorities - sticks to its part of the bargain. "We need the monitoring of not just the individuals transferred but also supervision and the co-operation at a general level with the receiving state in order to ensure that the facilities are there," Winkler told the Bureau of Investigative Journalism. "If the receiving state or entity does not fulfil the obligations as part of the MOU, then you cannot transfer."

This is where the central thesis of the use of MOUs by the Copenhagen Process starts to unravel. The UK - which is held up as an example of best practice - signed a bilateral MOU with the Afghan defence ministry in April 2006. Its intentions are laudable: "Ensure that participants will observe the basic principles of international human rights law such as the right to life and the prohibition on torture and cruel, inhumane and degrading treatment pertaining to the treatment and transfer of persons by the UK [armed forces] to Afghan authorities and their treatment."

However, a high court case brought last year by the peace activist Maya Evans exposed the fundamental failings of the agreement. At the time of the hearing, 418 UK detainees had been handed over to the NDS (the number is now more than 600). The main detention facilities are NDS Kabul, known as "Department 17", NDS Kandahar and NDS Lashkar Gah.

The judgment pointed out that "written assurances in themselves do not take matters very far . . . actions speak louder than words". It continued: "UK officials in Kabul reported that despite advice from London, the MOU was meaningless locally. The NDS did not recognise the authority of the Afghan minister of defence to promise anything on behalf of the NDS."

It continues that, because of deficiencies in the monitoring system, "the possibility of other cases of abuse which the monitoring system has failed to identify cannot be dismissed". However, the British judges refused to rule that the transfer of detainees was illegal. Transfers to NDS Kandahar and NDS Lashkar Gah could continue, "provided that existing safeguards are strengthened by observance of specified conditions".

That seems unlikely to happen: the Afghan­istan Independent Human Rights Commission has repeatedly been denied proper access to NDS facilities. During one visit in 2007, detainees were hidden on a roof.

The judgment also described the position at NDS Kabul as "particularly troubling". As it stated: "Little occurred by way of UK visits before the NDS refused all access to the facility in late 2008." Access to NDS Kandahar was limited. At NDS Lashkar Gah, visits were cancelled for security reasons and the character of visits was described as falling "well short of best practice"; guards were present during the interviews, and it was only possible to see detainees in groups with the guards still in earshot.

It was only through the high court hearings that the allegations of torture and abuse came to public attention in the UK. If those in charge of the Copenhagen Process have their way, the accusations are unlikely to surface again.

In the meantime, however, British troops continue to hand over detainees to their Afghan counterparts. The UK Ministry of Defence argues that, with better supervision, the situation has improved, but confirms that accounts of abuse continue to surface.

“We take all allegations of abuse seriously and consider these in all future transfer decisions," an MoD spokesman says. "We can confirm that there [has] been a very small number of allegations received since the judgment was handed down, but cannot give full details as they can only be passed on with the permission of the detainee and may be subject to an ongoing investigation, either by UK or Afghan authorities. Where permission is given by the detainee, an allegation will be passed to the Afghan authorities for further investigation."

As Nato-led forces plan to pull out from Afghanistan, the focus on how western armies can hand over detainees without breaching international law has intensified. Before the "war on terror" the west made great play of trying to engage with torturing regimes in an effort to get them to change their ways. Now, it stands accused of complicity, the result of a cynical attempt to erode the basic principles of the Geneva Conventions, international human rights and humanitarian law.

Angus Stickler is chief reporter at the Bureau of Investigative Journalism, a not-for-profit organisation based at City University London

Kate Clark is a senior analyst with the Afghanistan Analysts Network

This feature article was produced in association with the Bureau of Investigative Journalism

This article first appeared in the 29 August 2011 issue of the New Statesman, Gold

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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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