Rapid responses and targeted messaging: Matthew McGregor. Photo: Micha Theiner/Eyevine
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Labour’s most powerful weapon: its digital campaign

Cooler, younger and tech savvy – meet the team led by Obama’s former digital strategist which Labour hopes will win it the election. 

In the sprawling control room of Labour’s headquarters at One Brewer’s Green, thrumming activity signals the party’s election machine cranking into gear.

The sleek, glass-walled Westminster office – a far cry from the shabby premises in nearby Victoria Street that the party departed two years ago – is branded with flashes of red: the chairs, intrays and mugs all stand out in Labour’s trademark vermillion.

Beyond the fieldworkers manning the phones and the suited apparatchiks handling the finances lies Labour’s most powerful weapon in next year’s election battle – its digital campaign team.

The online campaigners resemble the staff body of a Silicon roundabout tech start-up: a senior female staffer wafts by in harem pants and a slouchy cardy. As Labour MP Michael Dugher, who heads the party’s communications and day-to-day election campaigning, mused: “They look different – a lot cooler than the rest of us. And they’re younger.”

The casually-attired team comprise individuals from a variety of backgrounds: some are long-established Labour campaigners, some rose up through specialist web-based strategy agencies, others hail from NGOs.

The star of the team is Matthew McGregor, the Norfolk-raised digital strategist who rose to prominence as Barack Obama’s online attack dog in the 2012 Presidential race.

Leading the US President’s online “rapid response unit”, the “Backroom Brit”, as he became known, became a darling of the American liberal media and a scourge of the Republican party.

He pioneered real-time defence against the opposition – shooting down Republican claims on social media as soon as they appeared – as well as digital attack tactics.

Even more significant than his contribution to the Twitter propaganda wars was McGregor’s use of digital media to raise funds and recruit volunteers.

Thanks in large part to McGregor’s online strategy, the Democrats raised more than £400m through online donations in 2012, according to Time magazine, and their digital campaign mobilised an army of grass-roots activists. Now Labour chiefs have placed their hope in him to repeat the phenomenon in the UK in the run-up to the general election next May.

Although the party’s finances are strained, and debts loom large, Labour has invested heavily in building its digital strategy and hiring a top team.

It will likely prove a canny decision: although Labour raised more money than the Conservatives last year, the Tories look set to outspend Labour by as much as three times, according to recent press estimates. Labour has calculated, wisely, that online advertising has the potential to reach greater swathes of the population for less money.

Digital content created in-house can be produced by staff or volunteers for nothing, while a single motorway billboard can cost up to £2,500 for three months.

Dugher explained: “Digital is the big leveller. The Tories can get their voter ID by paying private companies to canvass on their behalf. But while they can outspend us, they can’t out-campaign us.”

He elaborated: “We’ll tweet a survey with a ‘donate’ button at the end and people click on it,” said Dugher. He declined to specify how much they have raised via online donations so far, but said: “We’re starting from a low base, but it’s working.”

Small donations made to the party by members was Labour’s largest source of funding in 2013, raising more than £8m; it is likely that the party’s emotive online campaign, and the ease of donating on the web, will lead to even higher revenues from small donations this year.

After the Conservatives’ fundraising gala ball last month, in which £45,000 was paid for a bottle of champagne signed by Margaret Thatcher and a Russian donor controversially bid £160,000 for a tennis match with David Cameron and Boris Johnson, Labour is desperately hoping grassroots donations increase.

McGregor is defensive about repeating for Labour his online fundraising success in America: “No we aren’t the US – we’re not going to raise a billion dollars online, but I don’t think we actually want a billion sloshing around in political campaigns.”  

The party is preparing for their own gala fundraising event on the muggy July afternoon that I visit their headquarters (the star bid at the auction turns out to be £24,000 offered for two football matches with Ed Balls, the Shadow Chancellor). The fundraiser, explains McGregor, is the reason he has thrown on “a suit for the first time in nine months”, a slate two-piece that matches his badger-like hair, adorned with a pink patterned tie.

Eschewing tech jargon, he explains how Labour’s online campaign will reap modest financial dividends. The key is to “connects the dots” for supporters – that is, provide past and potential donors a concrete example of how funds have been used previously, in order to nudge them to donate again to secure a Labour win in 2015.

A recent Labour video thanks the party’s 18,000 donors for their financial support, which funded the recruitment of 100 regional organisers. The clip introduces Maddy, a wholesome, beaming Labour organiser in Cambridge, whose hard work swept the city’s council to Labour in last May’s local elections, ending 14 years of Lib Dem control. The narrative is upbeat and rousing.

McGregor has a knack for masterminding content that goes viral, such as the deftly-edited clips of Mitt Romney slip-ups that he created in 2012. The emphasis is on innovation, and he has his team on the lookout for fresh formats in online political campaigns the world over, including in the US, Canada, France, Scandinavia and Australia.

Not all digital campaign innovations are easily replicable in the UK; parliamentary and legislative systems lend themselves less easily to online campaigning than presidential systems, such as the US and France. It is easier to frame a single narrative around a handful of personalities vying for the top job and sell it to an entire nation, than promote hundreds of constituency candidates to small segments of the population.

A report by the Hansard Society in 2010 warned that “online campaigning works better in some contexts than it does in others and this is particularly true for personality-led or issue-based campaigns.”

It noted, however, that this online trend for British political parties had the potential to change, particularly as “local and national representatives in the UK make everyday use of the internet to establish stronger links with supporters.” The report stated: “Digital campaigns are increasingly significant in electoral contexts.”

All political parties in the UK were late to exploit the power of the internet in campaigning. Although they began harvesting information from early-era internet forums as early as the late 1990s, online communications were viewed as inherently risky until recently.

Now all three of the main political parties are catching up on social media. With 145,000 followers on Twitter, Labour has 30,000  more than the Tories and more than double the Lib Dems, but with 180,000 followers on Facebook, Labour still trails the Conservatives by 60,000.

While small, these numbers align with other nations’ political parties’ presence on social media. In the US, for example, the Democrats have 317,000 followers, while the Republicans have 285,000, and the US population is more than four times that of the UK. The difference in the online presence of political leaders is striking, however: Obama has 44m Twitter followers, while David Cameron has not yet reached 730,000 and Ed Miliband trails on 330,000.

He is clear all content serves a specific purpose. “If we can be funny or entertaining, great, if we can move people with tales of those who’ve lost out under this Government, then great... But it’s important to think: what is digital for? Our end goal isn’t creating content. Our goal is to win votes and get Ed into No 10.”

The party has experimented with new tools to see how many people it can reach at once. Last November, the team tried out a new tool called the Thunderclap, which allowed the party to tweet the same message from almost 850 consenting activists’ Twitter accounts simultaneously. The tweet, which promoted Labour’s energy bill price freeze policy, reached 4.5m users, the party claimed.

McGregor explains that more often, however, tailored content is narrowly targeted at specific demographics. While some emails reach 100,000 subscribers; other infographics are aimed at just 5,000 target voters.

The platforms the team use also take into account the demographics of users. “People in their twenties and thirties are more likely to be on Twitter than people in their fifties. Teens are more likely to be on snapchat,” says McGregor. So is SnapChat next? “No… it’s something Senator Rand Paul did, which I thought was a bit bizarre.”

Labour also uses Instagram, Twitter, YouTube, AudioBoo - “an audio platform where you can post and share audio files – so clips of speeches, interviews, soundbites”, and Stackla – an “innovative way of sharing visual content”.

Ed Miliband shared his first Vine last month – a six-second clip of the Tour de France passing in Westminster. A senior source close to the Labour leader admitted to me: “Ed’s not particularly tech-savvy himself,” but impressed Miliband’s support for digital political campaigning: “He’s engaged with the campaign and what it can do.”

Given the correlation between youth and the adoption of digital technologies and social media, is Labour’s support base, which pollsters show is younger than the Tories or Lib Dems, reached more easily and effectively by digital campaigning?

“I don’t think that applies as much as it used to, the age thing,” says McGregor, shaking his head vigorously. “My mother sends me pictures of her grandkids on her iPad, posts pictures on Facebook.”

He is diplomatic about the digital campaigns being launched by the Conservatives and the Lib Dems. “I respect them both” he says.

He adds, however: “I think the Tories are determined to run a really nasty, negative campaign. I don’t think that’s what people want, whether that’s online or offline.” Pausing pointedly, he says: “That’s their call.”

McGregor built his reputation on digital attacks, however, so I ask him about Labour’s own negative online campaigning. “Negative?” he asks, before correcting me with a mischievous smile: “I think you mean ‘contrast campaigning’. I think it’s important that people hear what we have to say is wrong with the Tory government and explain the contrast between the way that Ed will lead and this Government will lead.”

So far Labour has been assiduous in sharing information that demonstrates, they claim, the Conservatives’ “broken promises” on the NHS, education and the economy.

Although ruthless online, McGregor’s virtual reputation belies an enthusiastic, expansive and good-natured manner in real life. While he is the big name in the digital strategy community, he remains a team player – frequently impressing the importance of collaboration in all online campaigns, and deflecting any praise onto his colleagues.

Surprisingly, perhaps, he does not believe digital campaigning can overtake traditional doorstep campaigning.

He explains: “There’s intrigue with online – it’s new and exciting, and new tactics and tools are coming out all the time. But ultimately the most persuasive engagement someone in the Labour party can have with a voter is knocking on their door and talking to them about the issues that matter to them and people on their street.

The virtual world should be a complement to reality; Labour’s digital campaign is not about “making sure people are bent over their smart phones all day – that’s not right”. Instead, says McGregor: “Often it’s about persuading people to turn their computers off altogether and hit the streets.”

Lucy Fisher writes about politics and is the winner of the Anthony Howard Award 2013. She tweets @LOS_Fisher.

 

This article first appeared in the 13 August 2014 issue of the New Statesman, A century of meddling in the Middle East

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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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