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Mind the gap: how charities are mopping up after the government’s failure to care

Under austerity, charities are regularly having to substitute for government. We live in a twenty-first century Britain where poorer citizens are back to relying on handouts to live.

“Twelve bags, mainly men’s and baby’s clothes. All washed and clean,” Dawn Wilson lists, pleased, as she checks through the latest donations collected from her local area.

Wilson, in her forties, has been co-running the Durham Socialist Clothes bank for three months now. She’s a full-time carer for her disabled husband and is characteristic of what is emerging as a makeshift frontline service up and down the country: volunteers, often on benefits or low wages themselves, filling in the gaps now being left by the state.

Wilson tells me she formed the idea for the bank with a friend last year after seeing a woman crying in a local shoe shop.

“This mother was saying to her young son, ‘it’s your sister’s turn, I’m sorry son’. It spurred us on to do something to help, to help people on benefits or who’ve been sanctioned or are homeless,” she says.   

With help from regional union funding, Wilson and friends began running the clothes bank out of their local community centre in October 2014. By mid-December, they were handing out around a hundred and fifty bags of clothing, with toys on top for Christmas, and seeing over a hundred people through the door in a day.

“We thought we’d be starting with two tables,” Wilson says. “But it’s just ballooned.”

Demand is so high that they are now looking for a permanent storage facility for the donations (Wilson currently uses her house and garage). Two more, separate north east clothes banks – one in Teeside and one in Stanley – are due to open in the coming month, she tells me.

Clothes banks are perhaps the latest stage of what the “safety net” has become under austerity. A few years ago, not many of us would have believed that food banks – at last count, having fed a million people – would be entrenched into our towns and cities on a national scale. The reality is they are now only one part of a much wider trend of charity substituting for government: a twenty-first century Britain where poorer citizens are back to relying on handouts to live.

The clothes bank in Durham

Since coming into office, the coalition has presided over “a dramatic decline in support for some of the most vulnerable groups in society”, as researchers behind an extensive study put it last month (pdf). Benefits are being cut and sanctioned at the same time as crisis funds are being removed. This is turning out to be a lethal two-tier loss of state support: where policies like the introduction of the bedroom tax, the removal of council tax exemption for the poorest, and failing reforms to disability benefits push people into financial crisis as ongoing abolition to local welfare funds removes where they can go for emergency help.  

“People haven’t got money for rent, gas, or food, never mind clothing. That comes way down the list,” Wilson tells me. “It’s a mixture of people who come to us but mostly they’re unemployed, disabled, homeless…but also ones who are employed and struggling on child tax credits. Zero hour contracts are a nightmare, as they don't know when their next money’s coming in.

“I remember, we saw a pregnant girl,” she says. “Twenty-six weeks pregnant but she’d been without money for over ten weeks because she’d had her benefits sanctioned. We put a plea out for her and we got her a lot of baby things. Clothing, a buggy, things like that.”

It’s telling of the scale of the problems leading people through the doors that the title “clothes banks” only goes some way to describing the needs being met by services like the one Wilson runs. These banks are keeping people warm (there are bags of jumpers, hats and winter coats in what Wilson tells me are for all ages and sizes) or fed. But there are bigger items, notably often for children and babies: buggies, car seats, and cots. Shampoo bottles and nappies sit on other tables. Boxes of tampons wait for women who can’t afford to buy their own.

“We find a lot of people are embarrassed to ask for help,” Wilson says. “We have this one woman in her seventies… She got so upset that she had to ask for help. Her pension just didn't go far enough due to her heating bills.”

 

***

 

“Wherever possible we prefer to give money so that people can feel that they have some autonomy and control over their own life,” Jemima Hunt* tells me over email, writing from her London home. “I’ve always said that if we gave a family money for food and they bought cake as well as fruit and vegetables then that should be their choice.”

Hunt, 35, is the founding member of the Biscuit Fund: a charity project that gives small grants, advice, and gifts to “people who are struggling and at their wit's end”. Hunt herself relies on disability benefits due to having severe chronic fatigue syndrome and anxiety and much of the work is done from bed.

Hunt tells me she had the idea for the project in 2013 when, seeing a friend was struggling, she put a plea on social media for help. She raised £100 in around ten minutes and had what she calls a “eureka” moment. Formed with a few people who had offered help in Hunt’s original post, the Biscuit Fund has now assisted just fewer than 250 people, providing anything from money to help pay the bills to delivering a washing machine.  

What is particularly striking is the way the fund actively seeks out its recipients. Forty-six volunteers – from Newcastle to Cornwall – now keep an eye on their own communities through local papers and trusted officials as well as scouring online, from bedroom tax forums to disabled advisory groups, for people who need help. It clearly meets what are basic practical needs but, each time I talk to Hunt, it’s the emotional impact of the donations that is most evident. (Hunt tells me one recipient who was given a new fridge invited her father over simply to “admire it”. Another took a photo of herself with her donated oven.) The aim, she says, is to offer “a reminder that there are people who care”. 

“I’ve never seen the Biscuit Fund as a political project,” Hunt explains. “It’s purely an exercise in hope and bringing a sense of relief. It’s deeply upsetting that there’s a need for us to exist, but while that need is there we will be here.”

The majority of people the fund finds in need have disabilities or health problems and are struggling on benefits or low wages, or are one of the many who have encountered the sudden loss of money that comes with a growing sanction system – or, as Hunt says, are a combination of each as they “frequently roll into one giant issue”.  

“One quite poignant case for me was a gentleman who’d previously had substance abuse issues and had several quite serious heath issues,” she tells me. “He’d managed to get clean specifically so that he could have contact with his daughter [and] it was to be the first Christmas in a long time that she spent with him, but due to a sanction he was struggling for food. In fact he was missing meals so that he could feed her when she visited twice a week.”

The Biscuit Fund team sent the man some shopping, and then another food order “so he could do a full Christmas dinner with his daughter”, along with a couple of stocking fillers for her and a few baubles.

He reported that he couldn’t remember the last time he’d been excited about Christmas and that he’d been dreading it because he couldn’t provide her with the kind of Christmas they had both dreamed of,” Hunt says. “Apparently they had an absolutely wonderful Christmas together.”

“It still often amazes me, though, how little it can cost to help someone and restore a bit of hope,” she adds. “Quite frequently, we’ve had cases where the client has actually been considering suicide… Once in a while, something as insignificant as £50 can actually…restore a bit of faith in humanity.” 

Sarah Timothy*, 35, is a previous recipient of the Biscuit Fund and, after being touched by the help she received, their newest volunteer. Her gratitude beams from her.

“They’re the reason I’m still here today and able to help others who are now how I once was,” she tells me from her flat in a small town she asks to keep anonymous. “I was blown away by them. They offered me that tiny glimmer of hope which I very much had thought impossible at the time to have.” 

Timothy, who has emphysema, mobility problems and agoraphobia, is classed as a vulnerable adult. She lives in supported housing with the help of nurses who visit her daily but after being attacked in her home by a man known to her in February 2014, had to move to the first flat available. The floors had been left without carpet, the curtains needed replacing and there was no oven or washing machine. Timothy found herself in a situation familiar to many on a fixed or low income: forced to live hand to mouth and when a crisis hits, there are no savings or spare money to fix it.

“I tried all things [to get help] but I met with a brick wall each time,” she tells me. “The DWP were little support and every agency I approached said no. I did try a lot of places and each time I’d go back to the lady and she’d say ‘No, they can’t help.’ I did honestly try everyone, I even rung the council for help. Every suggestion was met with a ‘no’.”  

Timothy was eventually given a no-interest Budgetary Loan – a government pot designed to pay for essential items such as household equipment or furniture – for £113. It had cost £150 for removals alone and, by nature of a loan, she now has to pay it all back to the social fund. She tells me her application form still had a slot for Community Care grants on, despite the fact these were abolished in April 2013 as part of the “reforms” to local welfare funding.

Often, these charitable services end up as a last resort for those in crisis

“I’m on benefits and disabled so I had no means of buying an oven or anything,” she tells me. “I had to either choose to eat or keep warm and I chose to stay warm and live on Cuppa Soups.”

“When you’re at rock bottom already, it becomes a mundane task daily to battle to get simple things you need to live,” she adds. “I don’t know why in emergencies like this urgent help can’t be given by the DWP.”

It gives some insight into the extent the coalition has tampered with people’s ability to access “urgent help” that 75 per cent fewer financial awards were made in 2013/14 than before the Community Care Grants and Crisis Loans were abolished. Recent research into the impact of the coalition’s changes concluded that the ability of low-income households to access emergency financial assistance on a repeat basis has now been “virtually lost” in many areas.

Not content at that, the government is currently in a battle to abolish the funding for local Welfare Assistance funds. This, despite warnings from the Keep the Safety Net campaign – backed by a national network of over 100 voluntary sector organisations and local councils – that the government getting its way would be a “present” to loan sharks and further force low-income families to turn to charity.

It was the kindness of strangers and sheer coincidence, rather than structured governmental support, which allowed Timothy to wash her clothes and eat hot food again. Upset, she wrote a post on social media about her situation and a volunteer from the Biscuit Fund happened to spot it. Three days later, a brand new oven and washing machine arrived at her door.

“I remember I sat and cried when they said they’d help,” she tells me. “I hadn't eaten well for weeks or been able to even wash my clothes. At first I kept thinking that it maybe wasn’t true. I still didn’t believe it until they were actually delivered.”

“I do find it hard having to fight for simple needs,” she adds. “The basics, as well. Not luxuries.”

 

***

 

Rob Graham, 45, spent two and half years helping to meet these “simple needs” in his local area. He was one of the original volunteers at “NG7”, an independent food bank in one of the most deprived areas in Nottingham. This was a large-scale operation: table after table of toilet rolls, food tins and crates of fresh fruit and veg given out to people referred by multiple agencies, from refuges to the local Citizen’s Advice Bureau. Since the bank opened in 2012, 45 volunteers helped run the service – including Graham’s three teenage children – feeding over 5,500 people. After holding a final Christmas session, it closed its doors in December.  I ask Graham what happened.

“Unlike the Trussell Trust we chose [from the beginning] not to set up a referral arrangement with the DWP. We created our own referral arrangements with specific organisations…where we could be sure that alongside us providing food there was in place some support to address the issue that had created the food crisis,” he explains. “We started with a clear ethos to be 'a service of last resort', not an alternative for the local authority or the DWP to use instead of their own funds.”

But Graham and others at the bank soon began to be contacted by workers from the local council.

“We spent significant time signposting staff from Nottingham City Council Family and Community Teams from across the city,” he says. “It was individual workers in these teams who informed us of how they were advised to use food bank referrals by their management and felt pressure to not use internal funds.” 

This pattern of using the bank to fill in for statutory services ties in with the Freedom Of Information (FOI) requests that the NG7 volunteers made.

“A mere £68,000 was handed out in emergency hardship payments in 2013/ 2014,” Graham explains. “Our FOI request clearly shows that the council have not addressed the issue of access to emergency hardship support through its local welfare assistance programme, especially around those people who have been sanctioned by the DWP.”

Some of the supplies offered by the NG7 food bank

Graham tells me it reached the point where he and other volunteers were “regularly overwhelmed” by phone calls from support agencies and Nottingham County Council to the extent that in March 2014 they stopped accepting them. 

“[We ended up leaving] a voice message which signposted workers or potential service users to where they could find immediate advice,” he says.   

The experience of the NG7 food bank highlights the lurking fear at the back of any discussion of these expanding charitable services: that this may be exactly what the government wants. It is not clear whether the slow entrenchment of food banks and charitable services are the product of an active attempt to draw back the state or simply the tacit approval of a lack of action.

By the end of 2014, the Institute for Fiscal Studies was stating that “colossal” cuts – both current and those still to come – mean it would be justified to ask whether the government was planning "a fundamental reimagining of the role of the state", changing it “beyond recognition”. It is difficult, as we watch carers open clothes banks and the chronically ill deliver food parcels, to not recall David Cameron’s 2010 promise: a shift “from state power to people power.” Perhaps the “big society” has come to life.

It has been just over a month since the NG7 food bank stopped its service and Graham tells me, as the funding for welfare assistance schemes is planned to come to an end this year, he fears things will only get worse.

I'm aware that some voluntary sector groups, mainly charities, are looking to extend their work into food banks,” he says.Without critical challenges from food banks or campaign groups, councils and the DWP can continue to utilize these free resources unfettered.” 

“When we initially opened there were only five food banks in the city,” he adds. “Now there are thirteen.

Back in Durham, Dawn Wilson is finishing sorting the piles of donations. There will be another session in a few days.

“It's heart breaking to see people on their knees and not getting the help,” she tells me. “We do shed a few tears.

“It's a sad state of affairs,” Wilson adds. “This government has a lot to answer for.”

*Some names have been changed

You can donate to The Biscuit Fund here: www.biscuitfund.org

Frances Ryan is a journalist and political researcher. She writes regularly for the Guardian, New Statesman, and others on disability, feminism, and most areas of equality you throw at her. She has a doctorate in inequality in education. Her website is here.

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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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