The plot against liberal America

In its pursuit of a free-market utopia, the US right tried to crush unions, the legal profession and

The most cherished dream of conservative Washington is that liberalism can somehow be defeated, finally and irreversibly, in the way that armies are beaten and pests are exterminated. Electoral victories by Republicans are just part of the story. The larger vision is of a future in which liberalism is physically barred from the control room - of an "end of history" in which taxes and onerous regulation will never be allowed to threaten the fortunes private individuals make for themselves. This is the longing behind the former White House aide Karl Rove's talk of "permanent majority" and, 20 years previously, disgraced lobbyist Jack Abramoff's declaration to the Republican convention that it's "the job of all revolutions to make permanent their gains".

When I first moved to contemplate this peculiar utopian vision, I was struck by its apparent futility. What I did not understand was that beating liberal ideas was not the goal. The Washington conservatives aim to make liberalism irrelevant not by debating, but by erasing it. Building a majority coalition has always been a part of the programme, and conservatives have enjoyed remarkable success at it for more than 30 years. But winning elections was not a bid for permanence by itself. It was only a means.

The end was capturing the state, and using it to destroy liberalism as a practical alternative. The pattern was set by Margaret Thatcher, who used state power of the heaviest-handed sort to implant permanently the anti-state ideology.

"Economics are the method; the object is to change the soul," she said, echoing Stalin. In the 34 years before she became prime minister, Britain rode a see-saw of nationalisation, privatisation and renationalisation; Thatcher set out to end the game for good. Her plan for privatising council housing was designed not only to enthrone the market, but to encourage an ownership mentality and "change the soul" of an entire class of voters. When she sold off nationally owned industries, she took steps to ensure that workers received shares at below-market rates, leading hopefully to the same soul transformation. Her brutal suppression of the miners' strike in 1984 showed what now awaited those who resisted the new order. As a Business Week reporter summarised it in 1987: "She sees her mission as nothing less than eradicating Labour Party socialism as a political alternative."

In their own pursuit of the free-market utopia, America's right-wingers did not have as far to travel as their British cousins, and they have never needed to use their state power so ruthlessly. But the pattern is the same: scatter the left's constituencies, hack open the liberal state and reward friendly businesses with the loot.

Grover Norquist, one of the most influential conservatives in Washington and the "field marshal of the Bush plan", according to the Nation magazine, has been most blunt about using the power of the state "to crush the structures of the left". He has outlined the plan countless times in countless venues: the liberal movement is supported by a number of "pillars", each of which can be toppled by conservatives when in power. Among Norquist's suggestions has been the undermining of defence lawyers - who in the US give millions of dollars to liberal causes - with measures "potentially costing [them] billions of dollars of lost income". Conservatives could also "crush labour unions as a political entity" by forcing unions to get annual written approval from every member before spending union funds on political activities. His coup de grâce is that the Democratic Party in its entirety would become "a dead man walking" with the privatisation of social security.

Much of this programme has already been accomplished, if not on the precise terms Norquist suggested. The shimmering dream of privatising social security, though, remains the great unreachable right-wing prize, and the right persists in the campaign, regardless of the measure's unpopularity or the number of political careers it costs. President Bush announced privatisation to be his top priority on the day after his re-election in 2004, although he had not emphasised this issue during the campaign. He proceeded to chase it deep into the land of political unpopularity, a region from which he never really returned.

He did this because the potential rewards of privatising social security justify any political cost. At one stroke, it would both de-fund the operations of government and utterly reconfigure the way Americans interact with the state. It would be irreversible, too; the "transition costs" in any scheme to convert social security are so vast that no country can consider incurring them twice. Once the deal has been done and the trillions of dollars that pass through social security have been diverted from the US Treasury to stocks in private companies, the effects would be locked in for good. First, there would be an immediate flood of money into Wall Street; second, there would be an equivalent flow of money out of government accounts, immediately propelling the federal deficit up into the stratosphere and de-funding a huge part of the federal activity.

Business elites

The overall effect for the nation's politics would be to elevate for ever the rationale of the financial markets over such vague liberalisms as "the common good" and "the public interest". The practical results of such a titanic redirection of the state are easy to predict, given the persistent political demands of Wall Street: low wage growth, even weaker labour organisations, a free hand for management in downsizing, in polluting, and so on.

The longing for permanent victory over liberalism is not unique to the west. In country after country, business elites have come up with ingenious ways to limit the public's political choices. One of the most effective of these has been massive public debt. Naomi Klein has pointed out, in case after case, that the burden of debt has forced democratic countries to accept a laissez-faire system that they find deeply distasteful. Regardless of who borrowed the money, these debts must be repaid - and repaying them, in turn, means that a nation must agree to restructure its economy the way bankers bid: by deregulating, privatising and cutting spending.

Republicans have ridden to power again and again promising balanced budgets - government debt was "mortgaging our future", Ronald Reagan admonished in his inaugural address - but once in office they proceed, with a combination of tax cuts and spending increases, to inflate the federal deficit to levels far beyond those reached by their supposedly open-handed liberal rivals. The formal justification is one of the all-time great hoaxes. By cutting taxes, it is said, you will unleash such economic growth that federal revenues will actually increase, so all the additional government spending will be paid for.

Even the theory's proponents don't really believe it. David Stockman, the libertarian budget director of the first Reagan administration, did the maths in 1980 and realised it would not rescue the government; it would wreck the government. This is the point where most people would walk away. Instead, Stockman decided it had medicinal value. He realised that with their government brought to the brink of fiscal collapse, the liberals would either have to acquiesce in the reconfiguration of the state or else see the country destroyed. Stockman was candid about this: the left would "have to dismantle [the government's] bloated, wasteful, and unjust spending enterprises - or risk national ruin".

This is government-by-sabotage: deficits were a way to smash a liberal state. The Reagan deficits did precisely this. When Reagan took over in 1981, he inherited an annual deficit of $59bn and a national debt of $914bn; by the time he and his successor George Bush had finished their work, they had quintupled the deficit and pumped the debt up to more than $3trn. Bill Clinton called the deficit "Stockman's Revenge" - and it domin ated all other topics within his administration's economic teams. With the chairman of the Federal Reserve Alan Greenspan himself speaking of "financial catastrophe" unless steps were taken to control Reagan's deficit, Clinton was soon a convert. He got tough with the federal workforce.

So-called virtues

George W Bush proceeded to plunge the budget into deficit again. Indeed, after seeing how the Reagan deficit had forced Clinton's hand, it would have been foolish for a conservative not to spend his way back into the hole as rapidly as possible. "It's perfectly fine for them to waste money," says Robert Reich, a former labour secretary to Bill Clinton, summarising the conservative viewpoint. "If the public thinks government is wasteful, that's fine. That reduces public faith in government, which is precisely what the Republicans want."

In 1964, the political theorist James Burnham diagnosed liberalism as "the ideology of western suicide". What Burnham meant by this was that liberalism's so-called virtues - its openness and its insistence on equal rights for everyone - made it vulnerable to any party that refuses to play by the rules. The "suicide" that all of this was meant to describe was liberalism's inevitable destruction at the hands of communism, a movement in whose ranks Burnham had once marched himself. But his theory seems more accurately to describe the stratagems of its fans on the American right. And the correct term for the disasters that have disabled the liberal state is not suicide, but vandalism. Loot the Treasury, dynamite the dam, take a crowbar to the monument and throw a wrench into the gears. Slam the locomotive into reverse, toss something heavy on the throttle, and jump for it.

Mainstream American political commentary customarily assumes that the two political parties do whatever they do as mirror images of each other; that if one is guilty of some misstep, the other is equally culpable. But there is no symmetry. Liberalism, as we know it, arose out of a compromise between left-wing social movements and business interests. It depends on the efficient functioning of certain organs of the state; it does not call for all-out war on private industry.

Conservatism, on the other hand, speaks not of compromise, but of removing its adversaries from the field altogether. While no one dreams of sawing off those branches of the state that protect conservatism's constituents - the military, the police, legal privileges granted to corporations - conservatives openly fantasise about doing away with the bits of "big government" that serve liberal ends. While de-funding the left is the north star of the conservative project, there is no comparable campaign to "de-fund the right"; indeed, it would be difficult to imagine one.

"Over the past 30 years, American politics has become more money-centred at exactly the same time that American society has grown more unequal," the political scientists Jacob Hacker and Paul Pierson have written. The resources and organisational heft of the well-off and hyper-conservative have exploded. But the org anisational resources of middle-income Amer icans . . . have atrophied. The resulting inequality has greatly benefited the Republican Party while drawing it closer to its most affluent and extreme supporters."

In this sense, conservative Washington is a botch that keeps on working, constructing an imbalance that will tilt our politics rightward for years, a plutocracy that will stand, regardless of who wins the next few elections. And as American inequality widens, the clout of money will only grow more powerful.

As I write this, the lobbyist-fuelled conservative boom of the past ten years is being supplanted by a distinct conservative bust: like the real-estate speculators who are dumping properties all over the country, conservative senators and representatives are heading for the revolving door in record numbers.

Plutocracy

The Democrats who have taken their place are an improvement, certainly, but for the party's more entrepreneurial leaders electoral success in 2006 was merely an opportunity to accelerate their own courtship of Washington's lobbyists, think-tanks and pressure groups staked out on K Street. Democratic leaders have proved themselves the Republicans' equals in circumvention of campaign finance laws.

Throwing the rascals out is no longer enough. The problem is structural; it is inscribed on the map; it glows from the illuminated logos on the contractors' office buildings; it is built into the systems of governance themselves. A friend of mine summarised this concisely as we were lunching in one of those restaurants where the suits and the soldiers get together. Sweeping his hand so as to take in our fellow diners and all the contractors' offices beyond, he said, "So you think all of this is just going to go away if Obama gets in?" This whole economy, all these profits?

He's right, of course; maybe even righter than he realised. It would be nice if electing Democrats was all that was required to resuscitate the America that the right flattened, but it will take far more than that. A century ago, an epidemic of public theft persisted, despite a long string of reformers in the White House, Republicans and Democrats, each promising to clean the place up. Nothing worked, and for this simple reason: democracy cannot work when wealth is distributed as lopsidedly as theirs was-and as ours is. The inevitable consequence of plutocracy, then and now, is bought government.

This is an edited extract from Thomas Frank's "The Wrecking Crew", published this month by Harvill Secker (£14.99)

© Thomas Frank, 2008

This article first appeared in the 18 August 2008 issue of the New Statesman, Superpower swoop

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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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