The NS special report - What the BBC did not tell us

Richard Webster finds flaws in a "shock" broadcast on child abuse in Wales

On Monday 25 January 1999, immediately after Newsnight, BBC2 broadcast a documentary, A Place of Safety, about sexual and physical abuse in children's homes in North Wales. Many who saw it found it one of the most harrowing programmes about abuse they had ever watched.

As the North Wales Tribunal, the longest and most costly public inquiry in British legal history, gets nearer to publishing its report, the BBC had lined up a succession of witnesses who were prepared to speak about the years and years of child abuse they said they had experienced. All of them were adults. Almost all of them were men. With one exception they spoke full-face to the camera and allowed their names to appear on screen. They spoke of beatings and of bullying by the staff who were employed to care for them, of habitual sexual assaults and of cruelty and neglect on a scale that, ten years ago, would have been beyond belief.

As the programme went on, it became clear why North Wales has now become almost a synonym for abuse. Sir William Utting, chairman of the National Institute of Social Work, said on the programme: "I think this is one of the names that will continue to resonate through childcare over the coming decades because it establishes a kind of benchmark for the combination of things that can go wrong in residential childcare . . . It will be the name that's used to terrify future generations of childcare workers."

This is now the received view of North Wales, held alike by journalists, social workers and politicians. But there is a problem with the story of North Wales. It is a problem that the BBC programme illustrated repeatedly and disturbingly.

The first witness to appear on the programme was Brian Roberts. He had been sent to Bryn Estyn, the home said to have been at the centre of a web of abuse, in 1970 when it was still an approved school. Standing in front of the buildings he said: "It was just like something out of a horror movie, the beatings, the abuse, the sexual abuse. It was disgusting." As atmospheric music played and the camera cut to a shot of crows perching on nearby tree-tops, Roberts went on to say that a man (whom he did not name) had taken him into the gym and attempted to bugger him.

What the BBC did not tell us was that Brian Roberts only made his allegation of sexual abuse after watching a television programme about Bryn Estyn in 1997. This programme, which dealt with the setting up of the North Wales Tribunal, had mentioned the conviction of Peter Howarth, the deputy head of Bryn Estyn, for sexually abusing adolescents in his care. (It did not mention that Howarth, now dead, always protested his innocence, or that some of his former colleagues still believe he was wrongly convicted.)

Roberts immediately contacted the tribunal and told them that he, too, had been sexually abused by Howarth. He then made a formal statement to this effect. At this stage it was pointed out to him that Howarth had not begun working at the school until November 1973, three years after he had left. Far from being sexually abused by Howarth, Roberts had never met him.

The next witnesses to appear on the programme were Keith and Tony Gregory. Tony described a regime where physical abuse was commonplace. He said: "You'd let it happen to you. You'd let the staff punch you in the face, or in the stomach, or throw things at you." He went on to make even more serious claims, including that he had seen Peter Howarth sexually abusing one of the residents.

What the BBC did not tell us was that Tony Gregory had also given evidence to the North Wales Tribunal. One of the allegations he had made concerned a Mr Clutton who, he said, had thrown a leather football at his face so hard that it had almost broken his nose. During cross-examination it was pointed out that, although there had been a Mr Clutton on the staff of Bryn Estyn, he had left in 1974, three years before Tony Gregory had arrived.

The next witness to appear on the programme was Steven Messham. He said that on one occasion, when he had been in the sick-bay with blood pouring from his mouth, he had been buggered by Howarth as he lay in bed. He said that on another occasion he was asked to take a hamper of food to Howarth's flat, where he was buggered by Howarth over the kitchen table.

What the BBC did not tell us was that Messham claims he was sexually abused by no less than 49 different people. He also says he has been physically abused by 26 people. In 1994 the Crown Prosecution Service declined to bring his allegations against Howarth to court. None of his allegations has ever resulted in a conviction. In 1995 one of his most serious sexual allegations was rejected by a jury after barristers argued that it was a transparent fabrication.

The next witness was Andrew Teague. Teague said he had been beaten and sexually abused by one unnamed member of staff and that he had also been sexually abused by Howarth.

What the BBC did not tell us was that, although Teague had at one point agreed to appear as a witness at the North Wales Tribunal, he changed his mind at the last moment. The tribunal declined to use its powers to subpoena him. Counsel to the tribunal, however, did read out a statement which Teague had made to the North Wales police in 1992. In this statement he made allegations of physical abuse but clearly said: "I never experienced any sort of sexual abuse by the staff." His main allegation was of serious and repeated physical abuse by a care worker, Fred Rutter. It was later pointed out to the tribunal that Teague was at Bryn Estyn between 1977 and 1978. Rutter, however, did not start working there until 1982.

The next witness to appear was Andrew Treanor. He said that he had been abused at Ty'r Felin in Gwynedd, when a member of the care staff had punched him in the face.

What the BBC did not tell us was that in 1992 the North Wales police took a statement about a similar incident from a young woman who had been in care with Treanor. In her statement she recalled that Treanor had been arguing with a member of staff: "Following the argument Treanor came to join us by the steps to the loft. He had a bruise on his face from an earlier incident . . . We were talking about it and Andrew decided to start hitting himself on his face by this bruise to cause a more serious injury. He then said he would make a false allegation against the ex-army member of staff to get him dismissed. We all agreed to go along with his story, although we all knew Andrew had not been assaulted at all."

The next witness did not appear under his real name, and was filmed in shadow. He told of how, some ten years ago, he had been sexually abused by Stephen Norris, the officer in charge of Cartrefle children's home. His testimony was detailed and convincing. There is a wealth of evidence to indicate that the sexual abuse he described (and which he complained of at the time) did indeed happen. Norris, who had previously worked at Bryn Estyn, subsequently pleaded guilty to sexual offences against boys in his care and has served two prison sentences.

Partly because of Norris's conviction there can be no question at all that some sexual abuse and some physical abuse did take place in care homes in North Wales during the 1970s and 1980s. But equally, after all the evidence which has now emerged, there should be no doubt that a substantial number of false allegations have also been made. If the selection of witnesses who appeared on A Place of Safety is in any way representative, then the programme itself would seem to indicate that the proportion of false allegations may be startlingly high.

By far the most disturbing feature of the programme, however, was that the journalists who worked on it failed utterly to discharge the most basic duty of all journalists - the duty to investigate.

The real question raised by the programme is not whether every detail of the complaints made in it was true or false. It is whether the witnesses it featured should have been relied on by responsible journalists. At least five of the first seven witnesses who appeared had in the past made serious allegations of abuse that were demonstrably false. In some cases they had tried to uphold their allegations even when the details of their complaints had been shown to be impossible. Brian Roberts, for example, after having learnt that he could not have been abused by Peter Howarth, said that he had mistaken the identity of the staff member involved. The trouble, he said, was that "we never knew the staff directly by their names, it was either Sir or Miss". According to those who knew Bryn Estyn at the time, Roberts' account of an institution whose staff had no names bears no relationship to reality.

In most cases the amount of research needed to uncover the unreliability of the witnesses who appeared on A Place of Safety was minimal. In the cases of Roberts, Gregory and Teague, for example, all the BBC needed to do was consult the relevant portions of the transcript of the North Wales Tribunal. Yet even this piece of elementary journalistic research, which would have taken hours rather than days, appears to have been too much for them. The result was a programme that undoubtedly shocked many who saw it but which is actually far more shocking as an example of the low level to which some television journalism has fallen.

The low standards of this BBC programme are all the more worrying in view of the planned publication, later this year, of the report of the North Wales Tribunal. This report was referred to in the programme. Steven Messham, the man who claims he has been abused by more than 70 different people (and who also frequently appears on Channel 4 News), spoke of the promise made by Gerard Elias QC that the tribunal would "leave no stone unturned in its search for the truth". Messham went on to suggest that this was not so because the tribunal had failed to give proper consideration to the idea that a paedophile ring had organised a network of abuse in North Wales care homes.

What the BBC did not tell us was that other observers have criticised the tribunal from a quite different point of view. In particular they point out that, although considerable doubt surrounds the conviction of Peter Howarth, the tribunal has explicitly declined to consider this question. The tribunal says that it is bound by the doctrine of res judicata, which prevents it from investigating matters that have already been brought before the courts. This may well have been a legally correct decision. But the effect of the ruling is to prevent Howarth's barristers from challenging the soundness of his conviction.

In other words, one stone must remain unturned. And since the stone in question is nothing less than the foundation stone on which the entire North Wales story has been built, there are those who hold the view that the tribunal has not been able to conduct a proper inquiry at all.

The North Wales Tribunal has cost the taxpayer an estimated £15 million, but if this expenditure is unprecedented, so too is the difficulty of the task it faces. No amount of money can buy access to the truth and we must hope that the tribunal will not end by wholly or partly endorsing a received view of the story of North Wales that is fundamentally false.

But in view of the doubts that surround the story of North Wales - doubts that A Place of Safety, by its choice of witnesses, inadvertently illustrated - it is extremely important that the report, when it eventually appears, is thoroughly examined. For that to happen it is essential that the report is scrutinised by journalists who have themselves researched the story in depth, and whose appetite for sex, sensation and scurrility does not overpower their capacity to judge between what is true and what is false.

On this front, the only reassuring news to have emerged since the broadcast of A Place of Safety is that the tribunal report is now unlikely to appear until the summer. This gives journalists both in the BBC and in other media throughout Britain at least three more months to research the story thoroughly themselves. If we are to judge by the quality of journalism apparent in the BBC's A Place of Safety, they will need all this time and more.

Richard Webster is the author of "The Great Children's Home Panic" (Orwell Press, 1998). He is currently writing a book about North Wales

This article first appeared in the 19 February 1999 issue of the New Statesman, We are richer than you think

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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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