North Korea: survival means slavery

Many North Koreans are so desperate to escape the country that they are prepared to risk their lives

The Tumen River, which divides China from North Korea, was frozen solid. We peered across to the North Korean side: the border guards' wooden huts emitted no smoke, suggesting that they were unheated. Outside, it was -16° Celsius. A wolf-like dog scampered along the river, leaving pad-prints in the snow. There were human footprints, too - evidence of a patrol, maybe, or of refugees who had fled at night, so desperate to leave North Korea that they would risk freezing to death or being shot.

Some chance it across the river on their own, hiding in the mountains on the Chinese side, hoping to find farm work in exchange for food. A small number manage to link up with church networks that smuggle people through China and eventually to South Korea. For many women, however, the choice is stark: to die of hunger in North Korea or be sold into slavery in China.

So poor are farmers in this remote part of Manchuria that local women refuse to marry them, preferring to try their luck in the small town of Huanqing or the nearby city of Yanji. As an alternative, Chinese families buy North Korean women from the snakehead gangs that operate along the Tumen and Yalu Rivers. With the one-child policy now creating an overall shortage of young women in China, the demand for North Korean refugee brides is certain to increase.

The driver took us 15 miles inside China to a bleak, snow-cloaked village. The only living creatures outside, under the leaden grey sky, were a few tethered cattle. It was the middle of the morning, but the village was silent. A wooden window frame swung unevenly on rusting hinges; snow covered the piles of firewood stacked against barn walls.

We walked up a frozen mud pathway to a shabby brick house, thatched with twigs. Inside, it was warm, the concrete floor covered in yellow plastic sheeting and heated by a wood burner underneath. Two women sat on the hot floor among the men who had bought them. The younger one was pretty, her smooth hair pulled back in a ponytail, and she smiled as she played with her five-year-old son. The driver had told us earlier that she had cost the equivalent of £130. The older one, who said she was 52, must have been cheaper, because she was already beyond childbearing age when she arrived. Her function was to cook and work in the fields. She had a mouthful of gold teeth. Neither would reveal her name or allow her face to be photographed.

"If the North Koreans find out I'm here, they will say I'm a traitor and they'll kill me," said the younger one. The older woman told her story first. "When I was in North Korea, I was sick and couldn't work, " she said. "My husband had died. The government put me and my children in a camp. When my son died, I was with him. There wasn't enough food, so he went to scavenge whatever people threw away on the streets and ate it. He got sick from eating garbage. He was in the hospital for five days before he died. He was 17. Now I have no family left in North Korea." Her reasoning was simple. "I escaped from North Korea because there was no food. My husband died. My son died. I didn't want to die, so I came to China."

It is hard to imagine a situation so desperate that you would conclude being sold was your least worst option, but that was her decision. "Someone in North Korea told me that I could come to China and marry into a Chinese family," she said. "I crossed the Tumen River and lived with a family in Tumen town for three days. I said that I wanted to be far away from the border, and they told me people are bought and sold in Shandong, so they sent me there."

She said a North Korean man had sold her to a Han Chinese family, but she could not speak the language and grew ever more miserable. "I lived there for three months but I couldn't talk to anybody in that Han family. They didn't give me a lot of food either. I worked on the farm. Then somebody brought me here to this family. I don't know how much money he sold me for. Those people are middlemen."

At this point our driver interrupted. "Don't use the word 'sold'," he said. "Just say you got married." He had told us he knew where the North Koreans were hiding, because he and his brother sometimes picked them up at the border and drove them inland, or were hired to take them further afield. We wondered if he was employed by the traffickers; driving journalists to meet the refugees was just another part of the business.

The younger woman was reluctant to talk. "I've lived in this village for five years, and I'm afraid to be caught by the police," she said. She indicated our camera, which we were carefully not pointing at her face. "I'm afraid of television, too," she said, looking at the floor.

The police had caught her when she was six months pregnant, but her new family paid a bribe to stop her being deported. "I think the police let me go because I was pregnant."

Refugees who have reached South Korea tell stories of pregnant women sent back to North Korea from China being forced to abort or even murder their newborns. Although many Chinese families in the border area are ethnically Korean, the regime in Pyongyang is obsessed with racial purity and believes that the children of Chinese fathers are contaminated. "Whenever I hear police cars, my heart jumps, and when they come, I just run out and hide," said the younger woman. "As long as I'm not caught by the police, I'll just stay here with my son and live a quiet life. Life is not easy in China, but I just want to live like this, and not get caught."

The Chinese government regards the North Koreans not as refugees needing help, but as illegal aliens. It will not allow the UN High Commissioner for Refugees (UNHCR) access to the border area, and limits the number of South Korean diplomats in the region, for fear they will encourage North Koreans to seek asylum. "The Chinese government flat-out refuses to recognise North Koreans as refugees," says Ron Redmond, chief spokesman for UNHCR. "But of course we help them; we've helped North Koreans reach South Korea. Nobody knows how many refugees there are: estimates have ranged from 30,000 to 300,000. " In 2005 an American Christian pastor, Philip Buck, was arrested in Yanji and held for 18 months on charges of "people smuggling". He was part of the "Seoul train" that takes refugees out of North Korea and China through Mongolia and Thailand to safety.

The Chinese authorities detain North Koreans in a monolithic yellow concrete block with small windows staring out across the river from a hilltop just outside Tumen. Every few weeks they load detainees into vans and take them across the bridge, where they are handed over to the border guards under a portrait of North Korea's "President for Eternity", Kim Il-sung, who died in 1994.

In the late 1990s, hunger in North Korea became so acute that the country appealed for food aid and the UN World Food Programme stepped in. It is estimated that roughly two million people died. Now China and South Korea donate food, most of which is believed to reach the military and the elite in Pyongyang, while the WFP continues a smaller programme. "We have identified 1.9 million people dependent on food aid in North Korea," says Robin Lodge, a WFP spokesman. "At present we are feeding 740,000. Our funding is such that we believe we can continue feeding them until June this year."

Sanctions worsen hunger

In an anonymous block of flats in the mean little town of Huanqing, we met a family - mother, father, teenage son and daughter - that had been caught trying to take food to relatives back home. A Chinese Christian who would give his name only as "Mr Kim" took us to the flat which served as their refuge and their prison. "We're fine here, except we dare not go out," said the mother. She said Mr Kim brought them food and other necessities.

For five years the family had lived as a group of itinerant beggars, wandering around North Korea looking for food, because food distribution at the coal mine where the father had worked was inadequate. Their memory of dates and details was vague, but they said they crossed over into China in 2005. "For almost a year we lived in a tent in the mountains," said the father. They found the Christian network and converted. Then they began to worry about relatives back home, so they decided to join other Christians taking food back across the border.

Within days they were caught. Under interrogation, their friends confessed to being Christians and were jailed as political prisoners. The women were released and the father managed to resist confession, but the son was transferred back to their home town of Gosang.

"I was detained for another 20 days. There were 150 people in a cell 150 square metres large," he said. "Men were kept in the cell and women in the corridor." They were fed, but that was not enough. "Many prisoners got skin diseases," he said. "There was no medicine, and I saw many dead people in the cell."

It was not clear why he had been released, nor how the family had been reunited in China. Now Mr Kim was hoping to smuggle all four of them to Beijing and eventually to South Korea. When asked about relatives back home, mother and daughter started to cry. Although UN sanctions imposed after North Korea's nuclear test last year target luxury goods, Mr Kim's concern was that further economic pressure could send starvation levels back to those of the late 1990s. "The other day, I met some North Koreans who have only just arrived," he said. "They are ready for another economic crisis. There will be a second Hardship Long March this year."

In the past few years the North Korean economy has been prised open and increasing numbers of Chinese traders are doing business in Pyongyang, but the Chinese fear that if Japan and the US move too harshly against North Korea over its nuclear programme, the regime will become unstable and millions will surge across the border. "If more refugees flee to China, the Chinese government will send them back," said Mr Kim. "They won't change their policies."

On the outskirts of the village, we tramped through the snow to meet a family of three that had arrived last spring and had been living in the mountains, working in exchange for food on a farm where they catch and kill toads for traditional medicine. The parents told a now familiar story: their son had died of starvation last year, so they decided to come to China with their remaining child, a 13-year-old girl. As we talked, she played with a puppy - her only entertainment, because she cannot go to school in China.

No one knows how many other children like her are hiding in the villages and the mountains of north-eastern China, condemned to live as permanent fugitives for the crime of trying to survive.

Lindsey Hilsum is China correspondent for "Channel 4 News"

North Korea: the facts of life

Healthcare and education are provided according to government assessment of an individual's and family's political loyalty.
Usually only children of the elite are allowed to go to college and hold prominent jobs.
Between 1996 and 2005 more than $2bn of food aid was delivered to NK.
37 per cent of young children are clinically malnourished.
Approximately one-third of mothers are malnourished and anaemic.
A citizen can be sentenced, without judicial process, to a life of "hard labour" in mining, timber-cutting, or farming.
In 2003, the government announced that it would refrain from executing criminals in public.
In 2004, a government campaign called on men to keep their hair short, stressing the "negative effects" of long hair on "human intelligence development".
Research by Lucy Knight
Sources: Human Rights Watch, Amnesty, WFP

Lindsey Hilsum is China Correspondent for Channel 4 News. She has previously reported extensively from Africa, the Middle East, the Balkans and Latin America.
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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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