Brown's new world order

The Inside Track with Jonathan Freedland plus Kev

The Inside Track with Jonathan Freedland plus Kevin Maguire, Martin Bright, Peter Wilby plus Tara Hamilton-Miller

It's only an academic question, but it has suddenly acquired more force, now that he's about to become prime minister. Could Gordon Brown have stopped the Iraq war?

Say Brown had joined Robin Cook in resigning on principle in March 2003. Tony Blair would have had only two options: to quit or to back down to save his government. He would have had to phone George W Bush and tell him that British troops would not, after all, be joining the US military in Operation Iraqi Freedom. We know from all the insider accounts that Bush was determined not to go to war alone. Indeed, he was prepared to go to inordinate lengths to keep his British ally on board. The president could not allow his war to seem like an act of American caprice, rather than the action of the international community. Bush would have had to delay the invasion, thereby giving the UN arms inspectors more time - perhaps enough to discover that Saddam Hussein had no weapons of mass destruction after all. The chain of logic is clear. No Brown, no Britain. No Britain, no war.

Brown never did take that decisive step. He kept well out of what was the defining battle of the Blair years, declaring his view only during the 2005 general election campaign when asked point-blank if he would have handled Iraq the same way as Blair. "Yes," Brown said - and said no more.

From now on, enigmatic distance from key foreign policy issues will not be an option. Brown will have to lead and decide. There can be no delegation of international affairs, the way Blair delegated the economy to his Chancellor. Foreign policy is close to the essence of the prime minister's role. And, as predecessors from Churchill through Eden to Thatcher would surely testify, it's what can make or break you.

Brown will arrive at No 10 with only the sketchiest record in foreign affairs. That is partly thanks to the division of labour entailed by the Granita accord: Gordon got domestic, Tony got the rest of the world. If that was the bargain, Brown stuck to it faithfully, never once cutting across Blair's international turf. That's the charitable reading. Brown's critics have a harsher gloss. For them, his silence on Iraq was motivated by his Macavity-like habit, identified by the former mandarin Lord Turnbull, of vanishing at the first sign of trouble. Either way, Brown's experience in the diplomatic arena is thin. One über-Blairite warns that, when the first international crisis strikes, Brown is not going to know what has hit him. "If Iran invades southern Iraq, you can't commission Derek Wanless to do an 18-month review. You have to decide what to do now. Today."

And foreign policy is notoriously unpredictable. It is often barely a policy at all, less a predetermined strategy than a series of reactions to unforeseen events. After all, who knew in 1997 that Blair would emerge as a muscular neoconservative? Brown could end up surprising us just as much.

It is not only outsiders who are in the dark about his intentions. I asked one pro-Brown cabinet minister what his new boss planned to do internationally and received a candid reply: "I don't know." Incredibly, the man who will be prime minister next month has no full-time foreign policy adviser.

So we're left looking for clues, in his speeches and in his past record. One conclusion emerges straight away: when Brown looks for a way into an international problem, he heads for the door marked "Economics". The most obvious example is the Israel-Palestine conflict. In 2005, Brown deployed his trusted lieutenant Ed Balls, along with a Treasury official, Jon Cunliffe - whom some tip to move over to No 10 to advise on foreign affairs - to study, on behalf of the G8, prospects for "supporting the Middle East peace process through economic development". The idea was to replicate for Israelis and Palestinians what had worked so well in Northern Ireland: ensuring a flow of investment and jobs into a former war zone, giving the next generation a stake in peace. If today an 18-year-old Catholic lad in Belfast would rather get a job in some plush corporate HQ than become an IRA volunteer, why couldn't the same be true of young Palestinians of the future, choosing a career with an internet start-up over "martyrdom" with Hamas?

Something to lose

It's not just the Middle East conflict: ask Brown about Afghanistan, and his first answer is that the Afghans need an alternative crop to the poppy. He speaks about the need for investment in Iraq, too. Peace will hold, he believes, when people have something financial to lose. This economist's approach to foreign affairs might just be a function of Brown's CV: until now, economics was the only way he was allowed on to the world stage without treading on Blair's toes. But it goes deeper than that, revealing something of what Brown genuinely believes. There are flaws in the approach, to be sure. On Israel-Palestine, it's clear that investment will be vital after the two sides have signed a peace agreement. But the politics surely has to come first (just as investment in Ulster could come only after a meaningful ceasefire). To talk about industrial parks and apprenticeships now, while Hamas is firing rockets at Israel, Israel is shelling Gaza, and Fatah and Hamas are killing each other, risks looking idealistic, if not irrelevant.

There are other important pointers. Brown's championing of help for the developing world is well known, from his leading role in the campaign to cut debt to his invention of the International Finance Facility, designed to increase development aid with money from the bond markets. In both cases, Brown chivvied other governments to do their bit, even bringing a Republican US Treasury secretary, John Snow, on board for debt relief. That could be a precedent, a sign that coalition-building is not beyond him. It has also won him a strong reputation among NGOs and church groups.

What does this belief in development aid, typified by his tripling of the Department for International Development's budget, tell us about Brown? Admirers say it demonstrates his core belief that poverty is a scourge that governments have to tackle, at home and abroad. This, they say, is the legacy of his upbringing in the manse, the tangible evidence of his sotto voce brand of Christian socialism. Yet it would be a mistake to read Brown's belief in development as entirely abstract and ethical. Rather, it illuminates what might be a funda mentally different approach to the hard-headed, real-world questions thrown up by the "war on terror" - fundamentally different, that is, from the policy pursued by Blair.

If expressed in a soundbite, this would be "tough on terrorism, tough on the causes of terrorism". Brown is too canny to say anything that could be understood as justifying terrorist murder, but privately he argues that there are conditions in which violent extremism can flourish. These include states that break down through desperate poverty and disease.

Blair hangover

Of course, that doesn't explain the 19 hijackers of 9/11, most of them from comfortable Saudi backgrounds. But Brown is looking ahead to the failing states of Africa, worried that they could fall prey to al-Qaeda. In a speech in April to Labour Friends of Israel, he spoke at length about finding partners in Africa. His belief is that helping those countries - say, by funding education for those 120 million of the world's children who don't go to school - is both a moral good in itself and pragmatically smart, preventing jihadism winning more recruits. Brown talks often of the postwar Marshall Plan, which spent US money on European and other countries, in part to prevent them falling into the pro-Soviet column. He may well see aid to Africa the same way, with jihadism the new global menace to be defeated.

As for Iraq itself, a move is expected early, if only to draw a line under the hangover of the Blair era. The likeliest would be an accelerated troop withdrawal. But Brown would be wary of spinning that as a repudiation of Blair's war: after all, he knows that we know that he voted for it, and saw the raw anger for himself as an anti-war heckler was ejected from a hustings meeting he addressed on 20 May.

What's more, Brown still privately defends the decision to invade. He argues the case not on the grounds of weapons of mass destruction or Saddam being a vile dictator, but that Iraq's serial defiance of repeated UN resolutions could not go unpunished. Critics of the war will say that Saddam could hardly have been defying UN resolutions when, as we now know for sure, he had indeed disarmed.

Brown might want to couple any withdrawal from Iraq with another gesture, perhaps in the opposite direction. He might, for example, boost the British presence in Afghan istan, as if to allay any fears in Washington that Britain under him was going soft. But any desire to prove his hard power credentials is unlikely to include signing up for a military solution to one of the most pressing questions waiting for him in the Downing Street in-tray: Iran's apparent desire to acquire nuclear weapons. On 13 May, Brown said he did not anticipate any attack on Iran, because the process of multilateral engagement and negotiation is working. Indeed, he even spoke of a "new multilateralism", in which disputes will increasingly be settled through international institutions and dialogue. It may be too hopeful, but it suggests at least a different starting point from Blair, who sent British troops into combat five times in his first six years.

Then comes the crucial relationship, the one with the US. Of all Brown's diplomatic moves, this is the one that will be watched most intensely. There won't be the love-in that Blair struck up with Bush, if only because Brown knows how dearly that cost his predecessor, but it might be more complex than some hope. Brown is a known Americanophile - much more than was the French-speaking, Tuscany-visiting Blair. He reads American books and, famously, used to holiday annually in Cape Cod. His friendships range from Ted Kennedy to Alan Greenspan, the former head of the Federal Reserve. Brown will certainly be able to do business in Washington.

Aberrational fantasies

Brown also has the equipment to be more discerning than Blair ever was. Blair was powered by an undifferentiated belief that he had to be close to the White House, whoever was in it, whatever they did. Brown will be better able to distinguish enduring American interests from aberrational, neoconservative fantasies, siding with the US for the former and keeping his distance from the latter. He will be an enthusiastic, loyal ally of the US - but his support will not be unconditional. And if, once Bush goes in January 2009, the president is replaced by a Democrat, from the party with which Brown has good, personal links, so much the better.

On Europe, we have had several glimpses of the shape of things to come. Brown's impatience at finance ministers' meetings, and his derailment of British membership of the euro, suggest a sceptic. He loathes the Common Agricultural Policy, a piece of protectionism that cannot be defended in an era of global free trade. With the French and the Germans now talking of resuscitating the corpse of an EU constitution, reclothing it as a treaty, a collision seems likely. Brown would not want to rouse the ire of the Eurosceptic press by driving such a treaty through parliament; but nor could he risk submitting it to a referendum that he could lose. Expect some trademark footwork to get this booted into the long grass.

Where Brown would like to set a lead, rather than just react, is on the aid and trade agenda he has made his own (his only beef with the Make Poverty History campaign is that he thinks it should be pushing governments, including his, harder), and also on climate change. He wants to outman oeuvre the Tories on this territory not by matching David Cameron wind turbine for wind turbine, but by coming up with the kind of large-scale breakthrough that would make Cameron look like a lightweight. He speaks of plans for the reforestation of the Congo, of recasting the beleaguered World Bank as a new Environment Bank, of establishing a carbon market in London. This is the level he wants to operate on; he'll leave the organic broccoli to Cameron.

These, then, are the instincts that should steer Gordon Brown when he enters the international arena as leader of what is still one of the world's most powerful nations. How much will they determine what he does in office? The lesson of recent history is that they may be no guide at all. As Tony Blair discovered one September morning in 2001, everything can change when a single event comes out of a clear blue sky.

Jonathan Freedland writes for the Guardian

This article first appeared in the 28 May 2007 issue of the New Statesman, Gaza: The jailed state

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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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