Girls at the Lamwo Kuc Ki Gen High School, northern Uganda. Photograph courtesy of Peas
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The learning curve

In 2016, commercial-scale oil production will begin in Uganda. But with only a quarter of all its children in secondary school, how can more of the people – especially girls – benefit from its new wealth?

“John-Mary has always had dreams,” says Justine Nantengo of her son, who stands smart and shy in his crisp blue shirt on the dirt floor of their tiny mud-brick home. In this district, on the western edges of Kampala, where the urban sprawl gives way to green and where tarmacked roads dwindle to rutted, rust-red tracks, if you don’t have dreams you have nothing.

For a long time John-Mary dreamed of finishing secondary school, but the few local schools were too expensive for his single mother, supporting five children on a plantation worker’s salary. Then in 2008 Onwards and Upwards opened, a secondary school run by Peas – Promoting Equality in African Schools, a social enterprise and charity hybrid. School fees were only 52,000 Ugandan shillings (£12) a term, less than half the price of the average private school and USh19,000 (£5) lower than fees at the supposedly free government schools.

John-Mary, who was then 19, enrolled, graduated with the third-highest grades in the district and is now funding the cost of studying for a degree in education at Makerere University in Kampala by teaching at Onwards and Upwards. He hopes to teach full-time, to fund his younger siblings through school, perhaps, one day, rebuild the family’s decrepit home and allow his mother to retire.

Like many countries across Africa, Uganda has made considerable progress in increasing primary-school enrolment rates. Under the UN Millennium Development Goals introduced in 2000, national governments pledged to achieve universal primary education by 2015. Across sub-Saharan Africa, this led to an increase in net primary-school enrolment rates from 18 per cent in 1999 to 76 per cent in 2009.

The Ugandan government, led by Yoweri Museveni, introduced universal primary education in 1997, three years before the UN pledge. According to Ugandan government statistics, net enrolment rates rose from 57 per cent to 85 per cent in 1997 alone, and today just over 90 per cent of children are enrolled.

But this created a second problem, says Ismael Mulindwa, head of policy and regulations at the Ugandan ministry of education. “In the space of one or two years, the number of children in primary school shot up from about two million to seven million [Uganda has a population of 34.5 million]. When these children reached their final year of primary, another question came in: where do they go now?”

Uganda took an unusual step. In 2007, it became one of the first African countries to set a goal of universal secondary education, but the government accepted that it lacked the capacity to implement the programme directly. “At that point, we had around 800 government secondary schools, which could not take up that big number of school leavers. So we now thought of forging a partnership with private schools, to help absorb these numbers,” Mulindwa told me. The government encouraged private schools to step in by offering schools participating in the programme an annual grant of USh141,000 (£35) per pupil. In exchange for accepting the government subsidy, the participating schools agree not to charge tuition fees – but most schools get around this by imposing inflated top-up charges for lunch, uniforms and books instead.

The policy has yielded mixed results: enrolment has improved, but the quality of schooling is varied and often bad. Private providers can be costly and schools have been closed down suddenly when profits dried up. Large parts of the population are still not served by any secondary schools.

Peas, however, is pioneering a new model to provide access to affordable but high-quality secondary education in those areas where the demand is greatest. The capital and start-up costs for each Peas school are raised in the UK, but the organisation doesn’t want its schools to remain dependent on unsustainable foreign donations. A combination of the annual subsidy from the Ugandan government, low fees to cover lunch costs and an income-generating activity – often a farm attached to the school – aims to make every Peas school financially independent.

“Peas is run as a social enterprise,” says John Rendel, the organisation’s chief executive, “so the capital that people invest into the launch of each school sets up a business, which will not just support one child through school, but will support that child, then their brother, their sister, and so on, ad infinitum.”

There are now 13 Peas-run schools in Uganda as well as one pilot project in Zambia, and it is already one of the largest secondary school networks in Africa. It hopes to build 100 schools in Uganda by 2017, creating 100,000 low-cost secondary school places.

The task is huge. In Uganda only one in four children of secondary school age is in school. For a boy such as John-Mary, to miss out on secondary school is to be consigned to a life of poverty in a country where 38 per cent of the people live on less than $1.25 a day. For a girl, the consequences can be even worse.

Of Justine’s five children, only Mary hasn’t completed primary school – as a girl, she couldn’t contribute to her fees by making bricks. Mary Nantume married at 15. She now sits in one corner of the room with a polite but dazed smile and lets Justine and John-Mary speak for her. She has recently left her husband, returning home to live with Justine. Under Baganda custom, her husband will retain full custody of their children, aged three, five and seven.

“Men here are not easy,” John-Mary explains. “When you’re not educated, they treat marriage as employment and when you are a poor girl, they will mistreat you.”

Marriage is often one of the very few options open to an uneducated girl living in poverty. Because it is customary to receive a dowry, marrying a daughter early can be an attractive proposition for parents, too.

Around Kampala are several large, shiny billboards of a suited man punching a well-dressed woman, with the headline “Is this a fair fight?”. Domestic violence is common and even widely accepted in many Ugandan communities – and these posters are of little value if you can’t read. Nor is it easy, in any case, to leave an abusive relationship if you don’t have independent means. In many parts of Uganda, once a dowry has been exchanged, the husband will expect a “refund” should his wife leave. Whether the dowry was paid in money that has been spent, or on animals that have been reared and resold, this is seldom possible, leaving women trapped in unhappy marriages.

Education is not an instant cure to gender inequality, but the statistics for the benefits are unambiguous: an educated girl is seven times less likely to become HIV-positive, her children are twice as likely to live beyond the age of five and each year of secondary school can add between 15 and 25 per cent to her salary.

Onwards and Upwards has been especially successful in getting girls into school. Girls make up 56 per cent of pupils, and almost twothirds of them are boarders. “I had a parent here last week who had lots of children and has to choose which ones he will support through school this year,” the director of the Onwards and Upwards school, Moses Mwanje, told me.

“I asked him, ‘What criteria are you using?’ And he said he wanted to educate those that are most vulnerable first, so he chose his girls.”

Pregnant pause

Travel about 250 kilometres west of Kampala and you reach the trading village of Kigorobya. The whole village amounts to little more than a handful of wooden shacks and bare shops hugging close to the earth road, where children play in the dirt while their mothers do household chores. In this small and deprived outpost, Green Shoots, another Peas school, is faced with a very big problem.

Since it launched in 2010, 45 of the Green Shoots pupils have dropped out of school after falling pregnant. Six have since returned. Teen - age pregnancy rates in Kigorobya are exceptionally high, the result of a combination of poverty and a quirk of local marriage customs. “In most parts of Uganda, if a man gets a girl pregnant he will have to pay a bride price to her family,” says Christine Apiot, Peas’s senior director of education. “But around Kigorobya, there is no dowry system, so when a man here gets a girl pregnant, he doesn’t have to pay.”

Scovia Bamukuhda is one of only two girls in the final year at Green Shoots, and she believes that poverty has driven many of her peers to have children. “Maybe it is a problem of poverty, because they try to get some money. Now if they get money, they get the money through having sex,” she explains.

Stellah Kimuli, two years Scovia’s junior and quietly confident, says: “Another problem is maybe those husbands have money and will pay for them so they can go to school, and then they are getting pregnant.” It is hard to intervene because girls are often secretive about their sources of support. “You cannot know that there is someone who is paying for them,” Stellah says. “She just plays with you, socializes with you, but she doesn’t tell you. You only realize when the girl is already pregnant.”

Stellah was orphaned at nine, and now her uncle pays her boarding fees. She says she has resisted pressure to get married because she is “patient”. Although she is not sure if her uncle will pay for further studies, she wants to become a nurse, and believes the long-term benefits of education will outweigh the short-term benefits of marriage. “I am not even willing to get married. Because I can see I’m a poor girl and if I go and get married right now it’s not easy. It’s like this: as I still have a chance to be helped, let me make the most of that chance.”

To encourage more pupils to follow Scovia’s and Stellah’s lead, the school regularly invites successful women to speak to the girls, and it has arranged for them to receive free counselling and HIV tests at a local health clinic. It has launched an outreach campaign to convince parents to keep their girls in school. According to the headteacher, Simon Okwera, the outreach campaign has led to a fall in the number of girls dropping out because of pregnancy as well as an increase in the number of female boarders.

One of the community’s most vocal and longstanding advocates for girls’ education is Sarah Ntiro, Uganda’s first female university graduate, who was sponsored by the British government to study at Oxford from 1951-54. She was born in Hoima, a city a few kilometres away from Kigorobya, and still lives there today, in a neat concrete house on the edge of town.

“My mother went to school, I went to school, my children and nephews and nieces have gone to university, my grandchildren are graduates and there are people unable to read and write. In 2012. It’s shocking,” she says. “It isn’t that these people don’t see the value of education – they are not even aware that there’s a need. If they were aware they’d fear being left behind, and these people don’t want to be left behind.”

Hoima is poised on the edge of change. In 2016, commercial production is due to start at Uganda’s first oilfield, in the nearby Albertine Rift basin. There are hints of how oil money might transform the region: there’s an incongruous, shopping-mall-shaped hole in Hoima’s clapped-out downtown and, closer to Lake Albert, the occasional oil company compound stands out amid the mud-and-thatch huts. Samuel Nyendwoha, who farms tobacco here and leads the Green Shoots parent-teacher association, says local people grumble that oil companies are bringing in workers from Kampala and further afield. Uneducated locals can at best hope for casual manual labour.

In this sense, Hoima provides an example of a process that is repeating itself across Uganda, and indeed Africa. Foreign investment on the continent may be one route to more rapid economic growth, but although this will enrich a small, educated elite, the swaths of the population that lack the skills to participate in foreigninvestment- driven business will experience little improvement in their wages or standard of living. If, or when, foreign investment transforms Uganda, the uneducated will, in Sarah Ntiro’s words, be “left behind”.

Uganda cannot attain sustainable and inclusive growth if only a quarter of its children enroll in secondary school. “Education is our only foundation, our only future,” Justine Nantengo says. She could be talking about much more than her family of six and their battered mudbrick home on the fringes of Kampala.

Peas’s “Back to School” appeal aims to change the lives of over 16,000 children in Uganda by ensuring that they have a quality secondary school education over the next three years. Until 13 December, the British government will match all public donations to “Back to School” pound for pound. More details at: peas.org.uk

Sophie McBain is a freelance writer based in Cairo. She was previously an assistant editor at the New Statesman.

This article first appeared in the 19 November 2012 issue of the New Statesman, The plot against the BBC

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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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