Show Hide image

Hurricane Sarah

McCain's new partnership with a telegenic mother-of-five has dramatically shifted the dynamics and d

Hurricanes Gustav and Hanna may have brought hell to the people of America's Gulf Coast, but they came like manna from heaven for Senator John McCain, his brand-new running mate Sarah Palin, and the Republicans. First, McCain was quicker off the mark than Barack Obama by taking the decision to abandon political rallies, and he toured the affected areas instead - getting priceless footage on to the nation's television screens of a would-be president looking and acting just like a president should, receiving briefings and talking knowledgeably about the situation in press conferences and interviews. Obama, meanwhile, was stuck looking helpless in Lima, Ohio - 1,000km north.

Second, Hurricane Gustav made landfall in the early hours of 1 September, the day the Republican convention, destined to crown McCain and Palin, was due to begin in St Paul, Minnesota. You would have thought, four days after the Democratic convention in Denver reached a televised climax with Senator Obama's acceptance speech, fireworks and balloons at his $6m extravaganza in the Denver Broncos stad ium, that McCainites would have wanted every minute of live, coast-to-coast television they could get.

But a convention on Monday night would have been their nightmare: the scheduled speakers were none other than George W Bush and Dick Cheney - the last thing McCain would have wanted the nation to see was those two passing their mantle to him. Bush, mindful of his ineffable performance when Hurricane Katrina struck in 2005, stayed at the White House and immediately cancelled his appointment at the convention. So did Cheney, who was off - phew! - to Georgia, Ukraine and Azerbaijan the next day, making any appearance by him impossible.

Third, besides creating the illusion that he was taking charge of hurricane preparedness, McCain - emboldened, I suspect, by at last having a running mate of his own - seized the opportunity to make himself appear to be a thoroughly responsible decision-maker by selflessly cancelling the razzmatazz planned for Monday night. "This is a time when we have to do away with our party politics and we have to act as Americans," McCain said in an oh-so-respon sible broadcast that, had he been reading more fluently from an autocue and with the presidential seal in front of him, could have been coming from the White House itself. "We take off our Republican hats and put on our American hats," he went on. What a statesman!

Fourth, and in what may prove to be the most valuable of all the unlikely benefits Gustav and Hanna bring to the Republicans, the storms took much of the immediate public pressure off McCain's vice-presidential running-mate. I understand that the 44-year-old governor of Alaska, Sarah Palin - whose name McCain announced to a stunned world the day after Obama's fireworks - spent the hours closeted, out of the limelight, with party apparatchiks in St Paul, frantically trying to get up to speed on national and foreign policy issues for the hustings and, above all, for the much-awaited evening when she comes face-to-face with Senator Joe Biden at the vice-presidential debate in St Louis, Missouri, on 2 October.

At a stroke, McCain has seized much of the “change” territory

for himself

Inevitably, the dirt about Governor Palin was already flying. First came the national airing of "Troopergate," a saga that has already received wide publicity in Alaska: Palin has been accused of sacking the state's public safety commissioner because he refused to dismiss a policeman named Mike Wooten - Palin's former brother-in-law, who had divorced her sister and Tasered her 12-year-old nephew. Wooten has been reprimanded a dozen or so times since 2001, but because Palin herself has acquired a reputation for being incorruptible in a state that is notoriously corrupt, the story took off.

A calculated risk

Then, last Monday, came the "bombshell" that Palin's 17-year-old, unmarried daughter Bristol was five months pregnant - and was going to marry her high-school boyfriend, the baby's father. But in this peculiarly nasty campaign, the furore did not stop there. Blogs such as http://www.barackoblogger.com, as well as some in the mainstream media, starting putting out untrue allegations that Palin's own five-month-old son, Trig - who has Down's syndrome - is, in fact, the child of Bristol.

I wrote recently that Obama is taking a "colossal" risk in having Senator Joe Biden as his running mate, but it is nothing compared to that of McCain's risk when it comes to Palin. The two had never even met until February, when they had a 15-minute chat at a meeting of the National Governors Association in Washington.

But, despite the legions of Democratic and Republican operatives heading for Anchorage as I write, the McCain campaign insists that Palin's background had been carefully vetted, and that they already knew about Trooper- and Babygate; they say privately that they wanted both supposed scandals to come out early, so that manufactured furores in the final two months before polling day could be avoided.

The truth, though, is that McCain needed to do something dramatic to light fire to his campaign. Although he was holding his own against Obama to a degree many found surprising for a Republican in George W Bush's America of 2008, his campaign was not gaining traction. The problem facing him was that nearly all the obvious possible running mates were white men on the wrong side of middle age, such as former governors Mitt Romney (the choice until the last moment) or Tom Ridge - or even Senator Joe Lieberman, Al Gore's Democratic running mate in 2000 who has been drifting rightwards ever since and is now an Independent. The one remaining alternative was 47-year-old Tim Pawlenty, governor of Minnesota, but he is not especially telegenic.

So a woman it had to be. McCain seriously considered Meg Whitman, the 58-year-old founder and former chief executive of eBay, and Carly Fiorina, 53, the former boss of Hewlett-Packard, but neither had the necessary political instincts. He also needed somebody as young as possible to offset his own biggest liability - his age, now 72- and finally came up with Palin, 44, whose popularity ratings in Alaska have just soared to an unprecedented 80 per cent. By choosing her, the McCain ticket magically morphed into one that was, on average, only two years older than Obama.

McCain's announcement, which came the day after Obama's acceptance speech and stole much of his thunder, changed the entire dynamics of the race. The Obama team had prepared McCain-Romney, McCain-Lieberman, and McCain-Pawlenty attack ads, ready to be broadcasted across the nation the moment the Republican nominee made his announcement. But even they, the fastest-moving and most efficient campaign organisation since Bill Clinton's took President George Bush Sr by surprise in 1992, were not at all prepared for Governor Palin.

In one single strike, therefore, McCain had altered the thrust and direction meticulously planned by both sides. The Obama campaign had settled on a strategy of hammering away until election day on 4 November with the insistence that a McCain presidency would merely be a continuation of George W Bush's, constantly using the slogan "McCain the Same" in their two-month blitz of ads.

Suddenly, though, that argument weakened when Obama found himself facing an opponent whose running mate - rather than the stodgy old Romney or Ridge figure he had expected - was a self-described "hockey mom" and mother-of-five from Alaska, known to her basketball teammates in school as "Sarah Barracuda". The argument that the Obama-Biden ticket alone represented "change" also suddenly weakened; arguably, the McCain-Palin ticket now represented an even more seismic change.

For his part, McCain largely sacrificed his "experience" and "not ready to lead" arguments against the Democrats by choosing Palin. She, after all, did not even have a passport until she recently applied for one to visit Alaskan National Guard troops in Germany and Kuwait, so McCain could hardly continue to campaign against Obama by citing his foreign policy inexperience.

At a stroke, though, McCain had seized much of the "change" territory for himself: instead of two men in jackets and ties taking over the White House in 20 January as usual, he could argue that he is offering the prospect of a man and a mother-of-five in a skirt doing so instead. He had also positioned himself to steal a chunk of the non-ideological female supporters of Hillary Clinton, who are still chafing bitterly at the way Obama treated the Clintons; the database of Hillary donors would be like Alaskan gold-dust should it somehow mysteriously find its way into the McCain camp.

McCain's decision has also made life much more difficult for Biden, Obama's designated attack dog: at 65, he is from a generation still not comfortable with the notion of gender equality, and the possibility that he could bully and/or patronise Palin in the vice-presidential debate is a very real one. That alone would badly damage Obama, especially with female voters.

All of which is to say that we now have a new 2008 election on our hands, its dynamics and directions dramatically shifted. The supreme irony in the debate about Palin's lack of "experience" is that, compared with Hillary Clinton, McCain or Obama, she is the only one to have had actual executive experience of running anything: two years as governor of the nation's sixth most affluent state which is twice the size of Texas. This is the reason Americans have traditionally looked to governors, rather than senators or congressmen, to be their presidents; either McCain or Obama will be only the third president in history to have gone from the Senate to the White House (the others being Warren Harding in 1921 and JFK in 1961).

It is too early to say what Palin's arrival has done to the persistently close poll figures; Obama's extravaganza appeared to have given him little or no bounce until 1 September, when CBS found him five points up from before the Democratic convention. That gave him an overall lead of eight points, the largest so far.

Daily tracking polls, though, still showed Obama with statistically insignificant leads, ranging from one to six points. These polls mean little, in any case, until each party has had its convention enthroning its candidate and his running mate, and the real, post-Labor Day battle has commenced. Which means that next week we will have an altogether better idea of just how much the unexpected advent on the scene of Sarah Barracuda is affecting this most bizarre of US presidential elections.

Andrew Stephen was appointed US Editor of the New Statesman in 2001, having been its Washington correspondent and weekly columnist since 1998. He is a regular contributor to BBC news programs and to The Sunday Times Magazine. He has also written for a variety of US newspapers including The New York Times Op-Ed pages. He came to the US in 1989 to be Washington Bureau Chief of The Observer and in 1992 was made Foreign Correspondent of the Year by the American Overseas Press Club for his coverage.
Creative Commons
Show Hide image

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.

0800 7318496