Why life is good

A dangerous gap exists between our personal experience, which is mainly happy, and our view of a soc

Progressive ideology relies on the capacity of human beings to live fulfilled lives in a just and co-operative society. That people whose beliefs imply optimism seem to spend most of their time wallowing in pessimism is one reason that leftists sometimes lack personal credibility (another reason being that egalitarians so clearly enjoy being very well-off). But miserable idealists need to make a New Year resolution to look on the bright side. Pessimism is becoming an impediment to progressive politics. It is 50 years since J K Galbraith coined the phrase "private affluence and public squalor"; today, the dichotomy is between private hubris and public pessimism.

It is pessimism of a particular and pernicious kind. People are not generally negative about their own lives. In fact, we systematically exaggerate the control we have as individuals. As Malcolm Gladwell, among others, has shown, we tend to give our conscious minds credit for many reactions that are in fact instinctive. Other studies - of what we say has made us happy and what has actually increased our levels of contentment - show that we have a huge capacity to rationalise our life choices. When we are forced to make a choice between limited options, we are as likely to end up claiming the choice as our own as we would if it were unconstrained. And the more we like a future possibility in our lives, the more inclined we are to believe it will happen. The human mind is hard-wired to be personally Panglossian.

In contrast, we are unduly negative about the wider world. As a government adviser, I would bemoan what we in Whitehall called the perception gap. Time and again, opinion polls expose a dramatic disparity between what people say about their personal experiences and about the state of things in general. Take attitudes towards public services. In a recent poll, 81 per cent of respondents said that they were happy with their last visit to hospital. Yet when the same people were asked whether they thought the National Health Service was providing a good service nationally, only 47 per cent felt able to declare it was so, and most think the NHS is going to get worse.

This perception gap is not restricted to public services, as a recent BBC poll on families confirms. Some 93 per cent of respondents des cribed themselves as optimistic about their own family life, up 4 per cent from the previous time the survey was conducted, 40 years ago. Yet more people - 70 per cent, across race, class and gender - believe families are becoming less successful overall. While we apparently thrive in our own families of many shapes and forms, as social commentators we prefer to look back, misty-eyed, to the gendered certainties of our grandparents' generation.

What is true for families is true for neighbourhoods: we think ours is improving while community life is declining elsewhere. We tend to like the people we know from different ethnic backgrounds but are less sure about such people in general. We think our own prospects look OK but society is going to the dogs.

The media seem to be the most obvious cause of this phenomenon. Bad news makes more compelling headlines than good. Tabloids and locals feed off crime stories, middlebrow papers are dismayed at the chaos of the modern world and the alleged venality and ignorance of those in power, and left-leaning broadsheets enjoy telling us that global instability is endemic and envir onmental apocalypse inevitable. Mean while, the content of television programmes - from dramas to news bulletins - contributes to what the communication theorist George Gerbner called "mean world syndrome": people who regularly watch TV systematically overstate the level of criminality in society.

Yet it is too easy to blame the media; the job of commissioning editors is to give us what we want. We make our own contribution to social pessimism. In the burgeoning industry of reputation management, it is generally argued that people are much more likely to tell others about bad experiences of services than good ones (5:1 is the usual ratio). Academic research suggests that people tend to exaggerate in the direction of the general mood. Viewing our own lives positively but wider society negatively, we will tend to pass on and exaggerate evidence that supports these prejudices.

Evolutionary determinists may seek an explanation of our predilection for bad news in neurological hard-wiring; perhaps, for the survival of hunter-gatherers, warning is more important than celebrating. But it is in two of the mega-trends of modernity that more likely reasons for our social pessimism are to be found.

First, there has been the inexorable rise in individualism since the Enlightenment. As Richard Sennett brilliantly argued in The Fall of Public Man, aspects of modernity such as the power of consumer capitalism and the ubiquity of the idioms of psychotherapy have accelerated the process by which we see our authentic selves as revealed in the private and personal spheres, rather than the public and social.

Unstoppable force

Hand in hand with the rise of individualism, we have seen the decline of industrial and pre-industrial collectivist institutions, including the organised church, trade unions, political parties and municipal elites. Robert Putnam's work on social capital suggests this decline in collectivism reaches down into our social lives, with people choosing to spend less time with acquaintances and more with intimates. Putnam's more recent work controversially argues that trust levels are lower and loose social networking less common in more diverse communities.

This points to the second of modernity's mega- trends. Increasingly, we feel that we are the victims of processes set in train by human activity but no longer under anyone's control. Globalisation is the gravity of modern society: an unstoppable force that will knock us over if we try to defy it. The origins of the current credit squeeze in the US sub-prime mortgage market show a financial system that is beyond not only its managers' control, but even their capacity to chart.

Illegal immigration, terrorism and pandemics are seen as the inevitable flip side of cheap travel and consumer goods. Philosophers and policy-makers argue about how best to regulate emerging science and technology in genetics, nano technology and artificial intelligence. But can anything long delay the advance of knowledge - especially if it has commercial applications?

It is not only that we as ordinary citizens feel beset by forces beyond our control. We are ever less likely to believe in the power or authority of our elected representatives (although we much prefer our own MP to MPs in general). At a time when they have more to prove to us than ever before, our leaders are diminished by the politics of a populist consumerism. In this time of uncertainty, is it surprising that the more politically successful national leaders - think Chávez or Putin - are those who offer strong leadership in defiance of democratic constraints?

This is the anatomy of social impotence. By definition, progressives argue for the possibilities of progress; but is anyone inclined to believe us? A hundred years ago, Joseph Rowntree established his charitable works after analysing the social evils of his age. When, last year, the Joseph Rowntree Foundation asked today's public for its definition of the "new social evils", the list had changed very little. Greed, poverty, crime, family and community breakdown all featured on both lists. But at a seminar to discuss the findings, advisers from the foundation and elsewhere agreed on one big shift between the late-Victorian era and today: while Rowntree had seen his evils as the unfinished business of society's onward march, today we see social patho logies as the inevitable consequences of an idea of progress that itself feels imposed upon us.

Brainier than before

And yet. There is a different story to be told about our world. It is a story of unprecedented affluence in the developed world and fast-falling poverty levels in the developing world; of more people in more places enjoying more freedom than ever before. It is a story of healthier lives and longer life expectancy (obesity may be a problem, but it is one that individuals have more chance of solving than rickets or polio). Think of how we thrive in the diversity of modern cities. Think, in our own country, of rivers and beaches cleaner than at any time since the Industrial Revolution. When you read the next report bemoaning falling standards in our schools, remember the overwhelming evidence that average IQs have risen sharply over recent decades. If you think we have less power over our lives, think of the internet, of enhanced rights at work and in law, or remember how it was to be a woman or black or gay 30 years ago.

As for the powerlessness of leaders, the Bali deal last month may leave much to be resolved, but isn't this at last a sign that nations can unite in the best interests of the planet? And should we really lose faith that human determination and ingenuity ultimately will win through? Despite the power of international finance, this is a world where it is possible to be economically successful in societies as deliberately different as those of Sweden or the United States.

We rightly worry about rogue states and terrorists with dirty bombs; but let us also remember that since Nagasaki we have managed to carry on for 60 years without anyone unleashing the power of nuclear warfare. Not only have there been three generations of peace in Europe, but when in the past has a project as grand as EU enlargement been accomplished, let alone accomplished in a decade?

Progressives want the world to be a better place. We bemoan its current inequities and oppression - yet if we fail to celebrate the progress that human beings have made, and if we sound as though the future is a fearful place, we belie our own philosophy. Instead, we need to address a deficit in social optimism that threatens the credibility of our core narrative.

There are many aspects to this; we should, for example, be making the case for a more balanced and ethical media. But my starting point is the need to forge a new collectivism. It is in working with others on a shared project of social advance that we can be reconnected to the sense of collective agency so missing from modern political discourse. It is the attitude of the spectator that induces pessimism, the experience of the participant that brings hope. The problem is not that change brings fear and disorientation (there's nothing new in this), it is that we lack the spaces and places where people can renew hope and develop solutions.

The old collectivism is dead or dying. Its characteristics - hierarchical, bureaucratic, paternalistic - are no longer suited to the challenges or the mood of the times. The institutions of the new collectivism must be devolved, pluralistic, egalitarian and, most of all, self-actualising.

For all the talk of the decline of social capital, people are doing more stuff together. Twenty-five years ago, with falling audiences, commentators assumed that the cinema and live football were dead: we would all rather stay in the safety and comfort of our new, hi-tech living rooms. But then the multiplex, the blockbuster, the all-seater stad ium and foreign players showed the problem to be no deeper than the failure to keep up with modern tastes and expectations.

Self-actualisation is the peak of Maslow's hierarchy of needs. There is evidence that more of us are trying to climb that hierarchy. It is in the crowds at book festivals and art galleries, in ever more demanding consumerism with an emphasis on the personal, sensual and adventurous. We want to enjoy ourselves, to be appreciated and to feel we are growing from the experience. Compare that to the last Labour Party, trade union or council meeting you went to.

Roll up your sleeves

The failure to provide routes to collective fulfilment means we assume that our journey is best pursued alone. In the 1970s and 1980s, new left movements at home and abroad placed emphasis on forms of political organisation and debate that were innovative, exciting and (dare I say it without mockery) consciousness-raising.

Today, there are signs of a yearning for new ways of working together. There is the growing interest in social and co-operative enterprise and the emergence of new forms of online collaboration. Gordon Brown's citizens' juries are a tentative step in the right direction, albeit without much fun or risk-taking, but generally, progressives seem more interested in bemoaning the state of the world than in rolling up their sleeves and getting to work on building the institutions of a new collectivism.

Despite the huge impersonal forces of the modern world, people are prepared not only to believe in a better future, but to work together to build it. Tackling climate change offers a fascinating opportunity to interweave stories of action at the individual, community, national and international levels. This potential will be fulfilled only when we provide spaces for collective decision-making and action that speak to the same vision of collaboration, creativity and human fulfilment that progressives claim to be our destiny.

Matthew Taylor is chief executive, Royal Society for the Encouragement of Arts, and former chief adviser on political strategy to Tony Blair

Matthew Taylor became Chief Executive of the RSA in November 2006. Prior to this appointment, he was Chief Adviser on Political Strategy to the Prime Minister.

This article first appeared in the 07 January 2008 issue of the New Statesman, Pakistan plot

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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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