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The NS Profile: Michael Sandel

A public intellectual, he delivers lectures at Harvard that are wildly popular. He preaches that the

Urban legend has it that the man chosen by the BBC to deliver this year’s Reith Lectures was the real-world inspiration for a character in The Simpsons. Montgomery Burns, the desiccated and occasionally malevolent owner of the Springfield Nuclear Power Plant, is said to have been modelled, in his phy­sical characteristics if nothing else, on Michael Sandel, Bass Professor of Government at Harvard University. Many Simpsons writers have been Harvard alumni, and giving Mr Burns, one of Springfield’s least morally upstanding citizens, Sandel’s broad forehead and thin lips was a kind of Harvardian in-joke: for nearly 30 years now, Sandel has taught the university’s most popular undergraduate course – “Justice”.

Each year Justice, or Moral Reasoning 22, to give it its alternative title, a course in moral and political philosophy, draws more than 1,200 students, and the university has to requisition its largest lecture theatre to accommodate them. One of the most visited pages on the Harvard website carries a video in which Sandel addresses, without notes, a rapt audience on so-called “trolley problems”, imaginary dilemmas dreamt up by philosophers in order to get people to reflect on their intuitions about the relationship between action and intention. James Crabtree, now managing editor of Prospect magazine, was a teaching fellow (or graduate teaching assistant) on Justice between 2004 and 2006. He remembers the first time he saw Sandel lecture.

“It was pretty extraordinary. They were turning people away at the door. He’s a great lecturer – very engaging.”

A Harvard PhD candidate, Andrew Schroeder, also a former teaching fellow on Justice (the English-born political writer and blogger Andrew Sullivan is another), thinks the key to Sandel’s popularity with successive generations of undergraduates lies in his readiness to eschew the fantastic thought-experiments that are a staple of contemporary moral philosophy.

“His greatest strength, and one of the reasons Justice [is] so popular, is his ability to find real-world cases that show the depth and difficulty of issues in moral and political philosophy. Many discussions in moral philosophy are inspired by a single real-world example, and then move very quickly to focus on an abstract question. Sandel, though, can brilliantly marshal a huge range of examples to show how pervasive and difficult [an issue] is. That, I think, is what makes the class so popular and really inspires the students to work at the material,” Schroeder says. “I imagine Sandel reading the New York Times every day, cutting out articles that may have philosophical relevance and putting them in a file somewhere, to be summoned as necessary.”

Sandel doesn’t just read the New York Times, however; he is also a regular contributor to the paper’s op-ed pages, as well as to a number of other major American periodicals (including the Atlantic Monthly and the New Republic). Indeed, one assumes that it was his status as a “public” philosopher or intellectual – and not merely his reputation as a lecturer – that first caught the eye of the BBC.

For the past 15 years, Sandel has written as often for his fellow citizens as for his academic colleagues. His work, which has broached an impressively wide range of issues (from stem-cell research and affirmative action to the branding of sporting events and the use of commercial logos in schools), blurs the distinction between political commentary and political philosophy – and that is one of its strengths.

We met at Claridge’s, in central London, a couple of days after he had delivered “Markets and Morals”, the first of four Reith Lectures that will be broadcast on Radio 4 this month. He was dressed casually in a black polo neck, grey woollen slacks and expensive sneakers, like an East Coast academic in a Woody Allen movie.

Sandel sees his obligations as a philosopher as being continuous with his responsibilities as a citizen. For him, political philosophy is engaged or it is nothing. “The responsibility of political philosophy that tries to engage with practice is to be clear, or at least accessible – clear enough that its arguments and concerns can be accessible to a non-academic public. Otherwise, it’s not possible really for political philosophers to generate debate that could possibly challenge existing understandings.”

What is striking about this conception of the task of the public philosopher is just how ambitious it is. Where, for many of his contemporaries, the job of the philosopher is merely to tease out the abstract principles underlying public debate and deliberation, for Sandel it is to intervene in the debates themselves. “Public philosophy is set apart from academic political philosophy, in that it means not only to be about prevailing practices and assumptions, but also to address them,” he says. “To address fellow citizens about them and to try to provoke discussion and critical reflection among the public generally. So that political philosophy isn’t only about public things, but engages public things and, if it’s successful, reorients the way people relate to politics and the public realm.”

All of Sandel’s work, the academic treatises as much as the op-eds and magazine articles, circles obsessively around just this question: the nature and extent of the public realm. (The Reith Lectures are being delivered under the general heading “A New Citizenship” and culminate in a sketch of what Sandel calls “A New Politics of the Common Good”.) He traces these concerns back to a trip to southern Spain he took in the mid-1970s, at the end of his first term as a Rhodes scholar at Oxford, where he had gone to read for a DPhil after graduating Phi Beta Kappa from Brandeis University, in Massachusetts.“At the time, I thought I might pursue economics,” he tells me. “I was interested in welfare economics and the extent to which economic models could incorporate a concern for equality. I went to Spain with an economist, and we were going to try to work this out in a paper.”

One of his tutors at Oxford, Alan Montefiore, suggested to Sandel that he also take some books with him to Spain. He ended up taking four: John Rawls’s Theory of Justice, Kant’s Critique of Pure Reason, Robert Nozick’s Anarchy, State and Utopia and The Human Condition by Hannah Arendt. The idea was that Sandel would spend the days reading; he and his economist friend would work on their article in the evenings. Very soon, what he was reading by day caused the projected article on economics to unravel.

The “dismal science” of economics, he now thought, was excessively pessimistic about human beings, conceiving of them as little more than bundles of preferences and desires. This was a picture it inherited from utilitarianism, for which all moral and political principles are justified to the extent that they promote the greatest happiness of the greatest number. What Sandel took from reading Rawls and Kant was a “devastating and convincing critique of utilitarianism”.

Michael Sandel: the CV

1953 Born 5 March in Minneapolis, Minnesota
1975 Graduates from Brandeis University
1981 Earns doctorate from Balliol College, Oxford, where he is a Rhodes scholar
1980 Begins teaching contemporary political philosophy at Harvard University. To date, more than 14,000 undergraduate students have enrolled on his Justice course, an introduction to moral and political philosophy
1982 Liberalism and the Limits of Justiceis published
1985 Receives the Harvard-Radcliffe Phi Beta Kappa Teaching Prize
1999 Becomes full professor at Harvard
2001 Works as visiting professor at the Sorbonne in Paris
2002 Named the inaugural Anne T and Robert M Bass Professor of Government at Harvard University
2005 Public Philosophy: Essays on Morality In Politics is published
2005-2007 Advises the Bush administration on the ethical implications of biomedical new technologies
2008 Honoured by the American
Political Science Association for his excellence in teaching
2009 Delivers the Reith Lectures on
“A New Citizenship”
Research by Tara Graham

In A Theory of Justice, which ignited a dramatic renewal of political philosophy in the US and Britain following its publication in 1971, Rawls had argued that by focusing exclusively on the promotion of the general welfare, utilitarians such as Jeremy Bentham and John Stuart Mill miss an equally significant dimension of moral and political life.

Political rights, for example, are important, Rawls said, not only because they tend to promote human happiness, but also because they protect individual human beings against being used as a means to some end or other, however desirable that end might be. Moreover, according to Rawls, basic rights and fundamental principles of justice could be derived in such a way that all reasonable people would endorse them, irrespective of their differing moral and religious beliefs – and that was crucial in modern, pluralistic societies such as the United States, which are characterised by profound ethical disagreements about the nature of the good life.

Though reading Rawls may have been what set Sandel on the path from economics to poli­tical philosophy, his academic reputation in the US was secured by his first book, Liberalism and the Limits of Justice (1982), based on his Oxford thesis – which was a full-frontal attack on the version of liberalism set out in A Theory of Justice. Under the influence of a notably heterodox group of philosophers at Oxford, which included Stuart Hampshire, Charles Taylor (with whom he recently co-taught a graduate class at Harvard) and Leszek Kolakowski, Sandel began to formulate deep misgivings about the Rawlsian model, which seemed to him to make the surrendering of the moral and religious convictions that people hold most dear a condition of access to the public sphere.

The effects of emptying public life of moral and religious discourse have been disastrous, Sandel tells me. “It’s contributed to a moral vacuum that has been filled by narrow, intolerant moralisms. It has allowed the Christian right to have more appeal than it might otherwise have had, precisely because the field was cleared.” Sandel’s argument is that political progressives, of whom he is one, should actively engage people’s deepest beliefs, rather than ignore them. “As recently as the 1950s and 1960s, in American politics it was the left, more than the right, which broached moral and religious themes. Think about Martin Luther King and his ‘Letter from Birmingham Jail’ – that drew unabashedly on Christian themes, as well as universal ones.”

Sandel thinks Barack Obama, for one, has recognised this. “He is trying to articulate a politics of the common good and, unlike a lot of politicians, particularly those to the left of centre, he does not shy away from engaging with moral and spiritual language. He has brought moral and religious sensibilities back into politics, against a background in which such themes have been monopolised by the Christian right. Progressives have reacted, not by engaging the Christian right, but by trying to keep morality and religion out of politics altogether.”

Sandel’s prescriptions for a “remoralisation” of the language of progressive politics appear to be striking a chord here, as well as in the United States. Leading politicians of all parties, including Ed Miliband, David Willetts and Dame Shirley Williams, were present to hear him deliver his first lecture, and the MP Jon Cruddas, one of the few philosophically curious occupants of the Labour back benches, thinks they are right to be listening.

“Sandel’s challenge is to the whole architecture of neoliberalism,” Cruddas tells me. “And not just to liberalism in an economic sense, but to liberalism more generally. What he is saying is that a particular conception of the individual is being challenged in the current economic crisis.”He is right: Sandel’s work is an uncomfortable reminder of what we lost when we threw in our lot with a vision of politics as little more than the pursuit of economic growth and the protection of individual choice.

The Reith Lectures by Michael Sandel begin on BBC Radio 4 on 9 June (9am)

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

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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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