A "ghost bike" tribute to Min Joo Lee. The 24-year-old fashion student was killed by a heavy goods lorry in a bike crash in King's Cross, London. Photograph: The Times/News Syndication/Mikael Buck.
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Death rides a bicycle: Why is riding a bike so often lethal?

Cyclists make 570,000 journeys each day in London – and every one of them could be their last.
“I’m determined to turn London into a cyclised city – a civilised city where people can ride their bikes safely and easily in a pleasant environment”
Boris Johnson, the Mayor of London, Cycling Revolution London, May 2010.
 
Close to my house in Lambeth in central London, there is a road junction where, once a week, I nearly die. The other day, while I was waiting to turn right to cycle up North Street, as the traffic on Wandsworth Road blasted towards me on the left and past me on the right, an HGV driver miscalculated his angle and aimed his lorry straight at me. There was no gap for me to escape into on either my left or my right. All I could think of doing was to stare at the windscreen of the lorry that was going to kill me and use mind control to make him shift his wheel or just hope that he was going to see me and do it of his own accord. It was all so fast – and I never saw my potential assassin – but one of these things happened and he adjusted his course. I shivered as he barrelled past.
 
The following day, I was at the same junction, waiting again to turn right. The lights had just changed to red, so I pushed down on my pedal to make my turn before the traffic moved against me. Suddenly, a boxy red Cadillac overtook a bus and was about to speed through the red light and kill me – but the driver at last saw me and managed to stop with a foot or two to spare. Shaking my fist and imprecating the sort of loud, meaningless sounds that come out of one’s mouth in these situations, I went up the hill in some kind of safety.
 
Having endured several experiences of this sort at this junction in the past, I have learned mostly to avoid this situation but sometimes – when the timing is off, the morning conspiring against me – it’s unavoidable. Usually I’d wait for the pedestrian green man to go on in all directions and then turn slowly, giving precedence to any pedestrians. This is one of the rules I ride by: if I’m breaking the Highway Code, I’m not going to impede, alarm or scatter pedestrians when they have the right of way. If, to avoid a greater evil, I happen to be temporarily on the pavement, then I will be courteous and apologetic as I make my progress. They have priority but my first imperative as a cyclist is to carry on living. 
 
My most recent near-death experience was, unusually, the result of the negligence of a taxi driver. Unfriendly and aggressive to cyclists as many of them are, they almost always allow us to live. They don’t like us, however, and will give us only a narrow margin of error and they often fail to indicate, as if to do so were somehow demeaning, or else they will put on their turning light as a sort of afterthought only once they’ve changed direction. That is what this one did, abruptly turning left on Charing Cross Road on to Shaftesbury Avenue, by which time I was already on his inside. I braked, jittered, avoided falling. He turned left, I chased after him. 
 
He was depositing passengers outside a hotel, which is where I spent some time haranguing him. Foolishly, I was bent on getting him to apologise, to admit that he had made a mistake, to acknowledge that he had turned without looking, that he had nearly killed me and that if I had died it would have been his fault. This was never going to happen: a matter of professional vanity as well as, probably, personal principle. “I’m not going to hold up London for a pushbike,” he said. I could see his point but he was not looking at mine. “You were behind me,” he said. “I was inside you,” I said. “Look,” he said, “there’s thousands of you.” 
 
This is where we got to. I tried and failed to make him see that there were not thousands of me, just one, with a wife and two children and others who would mourn my passing.
 
***
 
“The thing that makes cycling safe in London is when people have the confidence to do it in numbers. The more you can get on the roads, the safer it is going to be for everybody.”
                         Boris Johnson, after the death of a cyclist riding a “Boris bike” on Barclays Cycle Superhighway 2 on 5 July
 
Transport for London has estimated that there are 570,000 bicycle journeys in London every day, which is a rise of roughly 80 per cent in the past ten years. In central London nearly a quarter of the morning commuters are cyclists: in the rush hour, cycling is cheaper and quicker than any other means of transport. And anyone who cycled happily as a child never loses that sense of freedom that being on a bicycle brings. 
 
When I first started cycling again in London, about 20 years (and five stolen bikes) ago, it took about two weeks of terror for me to begin to forget just how physically exposed I was. You have to bracket off your vulnerability; otherwise, you wouldn’t be able to negotiate the dangers. This vulnerability rises back into consciousness only when you have, or witness, an accident or a near accident, or when you reach safety. 
 
The conditions cyclists endure perhaps account for some of the pious ferocity of the Lycra road warriors, some of whom are treating the city as their own racecourse. These are the ones who run every red light, mounting the pavement when the way ahead is blocked and continuing their journey with hardly any less speed, scattering pedestrians at zebra crossings as they pump away with their self-adored legs. They are protected by their sense of their own virtue – they are carbon-neutral, therefore their way is the better one. Car drivers are selfish, therefore cyclists can do what they like.
 
But even though they’re dangerous to themselves and to others, and give cyclists a bad reputation, they are the small minority. Most of us stop at red lights (I’m often grateful for the excuse) and would welcome police enforcement against those who don’t. Most of us have a code of courtesy to other road users. The ones who make the roads most dangerous are the drivers who consider it beneath them to indicate; parents in 4x4s, texting and tweeting with a screaming baby in the back on suburban school rat-runs; drivers who stop their cars in bicycle lanes; parked cars that suddenly have open doors . . . The list goes on. I have a particular antipathy to Audis, for example; but at the top of everyone’s list would be the HGVs.
 
***
“. . . these superhighways are central to the cycling revolution I’m determined to bring about. No longer will pedal power have to dance and dodge around petrol power – on these routes the bicycle will dominate and that will be clear to all others using them. That should transform the experience of cycling – boosting the safety and confidence of everyone using the routes and reinforcing my view that the bike is the best way to travel in this wonderful city of ours.”
Boris Johnson, 2009, on the launch of his Cycle Superhighways
 
Most cyclists who travel around central London will have seen the mayor on his bike, suited, trouser-clipped (more Philip Larkin than Bradley Wiggins), with the expression of someone who is expecting to be recognised but is really in rather a rush and can’t stop to chat. Boris Johnson has raised public awareness of cycling and made it easier to join in by implementing the scheme of socalled Boris bikes that are available for hire around the city. He has not succeeded in reducing the numbers of bicyclist deaths and severe injuries.
 
On 12 July, I was part of a “flashride” that was organised by the London Cycling Campaign to draw attention to the dangers of cycling in the capital. A week before, Philippine de Gerin-Ricard, a 20-year-old student from France, had become the first person in London to be killed on a “Boris bike” as she was cycling across Aldgate gyratory on Cycle Superhighway 2. She may have strayed out of her lane to avoid roadworks; but whatever the circumstances, the notional lines that separate cyclists from industrial traffic are not sufficient. This is the main road between the City and Canary Wharf, where the cyclists’ “superhighway” is a narrow stretch of blue, often impeded by parked cars, and into which traffic necessarily encroaches. She was the third cyclist to be killed by a lorry in the vicinity of CS2. As the victim’s mother said, none of us can “understand how they can put bicycles and motor vehicles so close together at this spot”. Her death was the second in London in a fortnight, after a hit-and-run by an Audi in Lewisham at the end of June. (I make a small apology for the focus on London in this piece: but this is where I live, and bicycle.)
 
***
“. . . as for my blue bike lanes . . . there is no ban on allowing your wheels to stray into them; they are there purely, as you know, they are there for indicative purposes . . .”
Boris Johnson, 22 July 2012, speaking on Sky News
 
We should give the mayor some due. Since he took office in 2008, London has become more attentive to cyclists. There are more dedicated bicycle lanes; the “Boris bikes” have put more cyclists on the roads; London has taken stuttering steps towards a cohesive bicycle-route plan. But since he’s been in office, 65 cyclists have died in the city. 
 
The road surfaces need improving – every day, I have to swerve into traffic to avoid potholes. We need separate bicycle lanes that are more than “indicative” lines of paint. London should follow the example of Paris, which has banned HGVs from the city between the hours of 8am and 8pm. There were no cycling deaths in Paris last year.
 
About 1,500 of us on the LCC’s “space4cycling” flashride milled around by the green opposite Tower Hill Docklands Light Railway station waiting for it to begin. There was conversation about accidents and near accidents, and the dangers of the superhighways. I was in a suit, my neighbour in Lycra. We compared the dangers on our regular routes. I asked him if he stopped at red lights on his commute from Bromley to Bishopsgate, and he said that he did. Only if there were clear sightlines to empty roads and no pedestrians would he sometimes go through. He talked about the arguments he’s had with motorists who say that if they pay a road tax so should cyclists: “The road tax was abolished! They pay an emissions tax.”
 
I didn’t have the opportunity to pursue this conversation, because I’d just caught sight of someone I thought I recognised, the sister-in-law of a very good friend of mine. I texted my friend to ask him if it was likely that Ann should be part of a cycling campaign, and he texted back that it was more than likely and would I call him. He was at King’s College Hospital, beside his 15-year-old son, who had had his pelvis broken that afternoon. Cycling home along the Wandsworth Road, he had been knocked off his bike by an HGV, whose driver had cut across to turn into a side road without looking or indicating. Guy had to be pulled out from under the lorry. The doctor attending him said: “Everyone has a little bit of luck in their lives and you’ve just had yours.” I don’t know how well this registered with Guy, who was vomiting at the time, in reaction to the morphine he was being given for the pain.
 
The marshals invited us to make some noise, and we rang our bells and there was some chanting of “Blue paint is not enough!” and then we slowly set off. The route took us to Aldgate and to the site of Philippine de Gerin-Ricard’s death, where a wreath was laid and we stopped for a minute’s silence.
 
The ride itself took about 20 minutes or so and that part of London stopped for us, whether the taxi drivers liked it or not; but the expressions on the faces of drivers waiting behind police marshals for us to go through were curious and sympathetic rather than annoyed at being made to wait. At the end, we gathered in Altab Ali Park, off the Whitechapel Road, and Guy’s aunt addressed us, calling on the mayor to take action and Transport for London to make the city safer for cyclists, and asking us, without yet knowing that her nephew had very nearly joined them, to remember the recently dead.
 
And then we cycled away from the park, most of us heading west into town, along narrow blue strips on potholed arterial roads, towards homes and workplaces and hospitals.
 
David Flusfeder’s latest novel, “A Film by Spencer Ludwig”, is published by Fourth Estate (£7.99)
 
 
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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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