Andrew Adonis. Photograph: Getty Images
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Beyond our Berlin Wall

The way to pull down social barriers in England is through reforming education — encouraging private schools to become more involved in the state sector by backing academies. That could also spread excellence.

Two of the greatest challenges in English education today are, first, not just to reduce the number of underperforming comprehensives but to eradicate them, and second, to forge a new settlement between state and private education.

I put these two challenges together because they go together. It is my view, after 20 years of engagement with schools of all types, that England will never have a world-class education system or a “one-nation” society until state and private schools are part of a shared, national endeavour to develop the talents of all young people to the full.

The two also go together, in that academies are at the heart of the solution to both challenges. It is academies that are systematically eradicating failing comprehensives. And academies – as independent state schools – are the vehicle by which private schools can become systematically engaged in establishing and running state-funded schools.

So, just as the challenge is simple – how to unite state schools and private schools in a common endeavour – I believe the solution is also simple. Every successful private school, and private school foundation, should sponsor an academy or academies. They should do this alongside their existing fee-paying school or schools, turning themselves into federations of private and state-funded independent schools and following the lead of a growing number of private schools and their foundations that have done precisely this and would not think of going back, including Dulwich, Wellington, the Haberdashers’, the Mercers’, the Girls’ Day School Trust, the City of London Corporation and the King Edward VI Foundation in Birmingham.

Simple does not mean easy, nor does it mean little. By sponsoring academies I don’t just mean advice and assistance, the loan of playing fields and the odd teacher or joint activity, which is generally what passes for “private state partnership”, however glorified for the Charity Commission. I mean the private school or foundation taking complete responsibility for the governance and leadership of an academy or academies and staking their reputation on their success, as they do on the success of their fee-paying schools.

The roots of the state-private divide are so deep that they reach to the very foundation of state education in England in the 19th century. Historians talk a lot about Gladstone’s Elementary Education Act of 1870, which essentially started state education. But equally significant were Gladstone’s Endowed Schools Acts 1869 and 1873, which turned the great public schools and many of the newer grammar schools previously run in a rackety way by Crown, church or local appointees, into a Victorian equivalent of today’s academies, with independent governing foundations to control their assets, management and leadership. This Victorian academy status greatly strengthened the private schools as institutions. Yet their fees, and the conservative use of their charitable assets by their new governing bodies, kept most of them largely closed to all except the upper and upper middle classes. And so they remained as the state secondary system developed in parallel, and separately, in the decades after the Balfour Education Act 1902.

There was a moment at the end of the Second World War when history might have taken a different turn. An official report, published in 1944 on the day Dwight Eisenhower reviewed his bridgehead in Normandy, said that the social division between private and state schools “made far more difficult the task of those who looked towards a breaking down of those harddrawn class distinctions within society”. Even Winston Churchill, visiting his alma mater Harrow, talked to the boys of “broadening the intake” and of the public schools becoming more and more based on aspiring youth “in every class of the nation”.

But it didn’t happen. Two generations later, the only significant changes to the private school system are that it is larger and richer, and its average educational attainment has risen to among the highest in the world.

The reason for the failure of postwar policy to overcome the private-state divide can be explained simply. Both sides of politics, and both sides of education, positively wanted the divide to continue. So, for differing reasons, they adopted a one-word policy in respect of private schools: isolation.

On the Labour side, ideological antipathy to fee-paying, and later also to selective, education bred often intense hostility. But the social and legal position of the private schools –plus, paradoxically, the personal educational preferences of Labour leaders from Attlee to Wilson and Callaghan – kept at bay any attack beyond the rhetorical, except for the withdrawal of state funding schemes for small numbers of pupils to attend private schools.

I treasure Roy Jenkins’s exchange with Harold Wilson when turning down Wilson’s offer to become education secretary in 1965. “Looking for an excuse [to decline the job],” he records in his memoirs, “I said that all three of our children were at fee-paying schools and that this surely was an obstacle to being minister of education in a Labour government. Wilson brushed this aside as being of no importance. ‘So were mine,’ he said.” Tony Blair was the first prime minister in history to send his children to state secondary schools.

On the Tory side, there was an equal and opposite isolationism. Most Tory ministers and MPs went to private schools and sent their children to them. They still do. So long as Labour kept the dogs off, they had no desire to court controversy by proposing any role in the state system for private schools and their foundations. Better to let sleeping dogs lie.

So much for the politicians. The leaders of state and private schools were – and many of them remain – similarly isolationist. It was an article of faith among the leaders of the comprehensive movement that private schools were not only socially divisive but also, in their educational practice, largely irrelevant. This is still a pronounced view, even among academy head teachers. They say, to paraphrase: “What can that lot who just spoon-feed the children of the rich ever know about education in Hackney and Knowsley?” As for the heads of the private schools, many of them have been only too eager to agree, especially when the suggestion is made that they might manage academies.

Pressed further, they often say it’s not about ordinary children v privileged children but about non-selective schools vselective schools, an argument made by Sir Eric Anderson when provost of Eton. I found this richly ironic, given that Eton until recently was basically an allability comprehensive for the rich and titled.
 

Writ large

Those on the left, and in the state sector, who see the private schools as an irrelevance need only look at their huge footprint in almost every national elite, from politics and business to the media, sport and the arts. The Cameron- Clegg coalition is an Eton-Westminster coalition. (Westminster School accounted for two of the five Lib Dem ministers in cabinet until Chris Huhne’s resignation, and the rest of the cabinet is practically a roll-call of the other leading private schools.)

To those in the private schools and their governing bodies who are reluctant to embrace academies, I appeal to their professionalism and their charitable missions. It was excusable to stand apart from state-funded education when the state did not want them engaged in the first place. But that is the isolationist politics of the past. With the academies programme, supported across the political divide, they have an opportunity to engage in state-funded education without compromising their independence, renewing for the 21st century their essential moral and charitable purposes.

Depressingly, the politics of private-state school reform is still too often seen in terms of cash transactions. On the left, the conventional wisdom is that charitable status gives an unfair subsidy to private schools which ought to be ended, while some private school leaders and governors, whenever it is suggested that they might sponsor academies or otherwise support state education in a non-tokenistic way, retort that their parents are already paying twice for education, through their taxes and their school fees, so why should they pay a third time over? Some say they would rather “give up” charitable status than be expected to do this.

Both these approaches are misconceived, for they fundamentally misunderstand the position of private schools as charities. “Charitable status” is not a badge that can be awarded or taken away from the assets of private schools by the Charity Commission for good or bad behaviour. Nor could the government do this, nor even parliament, unless charitable assets nationwide are to be held liable to random nationalisation. Rather, it is fundamental to their being, like blood in a mammal.

The assets of Eton, Westminster, Winchester and the rest are vested in their present trustees and managers on the understanding that they be deployed for charitable purposes. Private school charities can no more “give up” charitable status than they can have it stripped from them. If they do not wish to continue as charities, or if they are unwilling to perform genuine charitable endeavour, then their highly valuable charitable assets should be passed into hands willing to do so. If the governors of Westminster School, for instance, then want to set up a separate, non-charitable trust solely or very largely concerned with the education of those able to pay their fees of £31,000 a year, that is up to them.

The charitable purposes of these institutions could not be clearer. William of Wykeham established Winchester for the education mainly of poor scholars, and only a small number of “noble commoners”. Henry VI set up Eton for poor scholars. Charterhouse was established by Sir Thomas Sutton, the wealthiest commoner in England, for – yes, more poor scholars. Elizabeth I endowed Westminster School for the same purpose; to this day it is an integral part of Westminster Abbey. John Lyon set up Harrow in 1572 as a free grammar school for the education of boys of the parish of Harrow.
 

Conscience and duty

I could go on through the statutes, charters and founding deeds of hundreds of private schools. It shouldn’t take the Charity Commission to challenge private school foundations about their charitable mission. Their trustees and governors should look to them constantly as a matter of conscience and duty.

With each passing decade many of these schools have become more, not less exclusive, and for generations now few of them have done anything bold to reconnect with their charitable purpose. Most of them are seeking to provide a few more bursaries. Yet it is hard to argue that this is enough, when they could also be running academies whose central purpose is the mission for which their assets were intended in the first place.

As for the idea that these great schools and foundations are not capable of making a success of academies with a more challenging pupil intake, it is a comic proposition. The governing body of Eton is chaired by the former Conservative minister William Waldegrave. Its members include three professors, three knights, five PhDs and a Prussian princess. Westminster School’s governing body is chaired by the Dean of Westminster – John Hall, the former chief education officer of the Church of England who was the driving force behind the Church’s decision to set up more than 30 academies. His fellow governors include the Dean of Christ Church, Oxford, the Master of Trinity College, Cambridge, three professors, two canons, two knights, one baron and one dame.

Almost every private school governing body in the country is a catalogue of the very great and the very good, locally or nationally, including business, religious and educational leaders.

The notion that these organisations, if they have the will to do so, cannot command the resources and the expertise needed to run a successful school or schools in less advantaged areas – if that were true, England would indeed be Greece, about to default on its whole society and not just its state borrowing.

However, there is no need to argue by assertion. The leaders are there. Dulwich is spon - soring an academy in Sheppey. Wellington is sponsoring an academy in Wiltshire. The King Edward VI Foundation is sponsoring an academy in Sheldon, east Birmingham. All these academies replace failing comprehensives. The Girls’ Day School Trust has converted two of its outstanding private schools, in Liverpool and Birkenhead, into state academies. And five substantial academy chains – built up by the Mercers’ Company, the Haberdashers’ Company, the Woodard Corporation, the United Church Schools Trust and the City of London Corporation – have grown out of the management of historic chains of private schools, leveraging this expertise and experience in education to service academies alongside. With vision and leadership, there could be hundreds more academies sponsored by private school foundations.

It would also be good to see successful independent day schools convert to become academies. It was one of my main objectives for the academies programme, as minister for schools, that it should be a vehicle for a modern version of the “direct grant” scheme, which until its abolition in the 1970s made it possible for leading independent grammar schools to be state funded without charging fees. I had in mind a simple model. The private school would become an academy, fully retaining its independent management and character but without fees for any pupils. It would exchange academically selective admission for all-ability admission, with a large catchment area and “banded” admissions so as to ensure a fully comprehensive ability range. There would also be a large sixth form, underpinning continued very strong academic performance.

A direct-grant sector on these lines is gathering scale. I encouraged and oversaw the transition of five historic fee-paying secondary schools to academy status (William Hulme’s Grammar School in Manchester, the Belvedere School in Liverpool, Birkenhead High School, and Colston’s Girls’ and Bristol Cathedral schools in Bristol). All five are still performing strongly as academies, while expanding their intake and greatly broadening their social range. The Cameron government has continued this policy. Liverpool College and the King’s School, Tynemouth – both highly successful independent day schools in localities that suffer from high levels of deprivation – have recently decided to become academies.

With government encouragement, there could soon be 50 or 60 more “direct grant” academies. Over time, these direct grant academies could sponsor new academies, replicating their ethos and success within the system.

I recently visited the Petchey Academy, one of the five such schools in Hackney, east London, sponsored by Jack Petchey, a great East End philanthropist. His academy isn’t just about examination results; it is about education for character, for community and for citizenship. This is done brilliantly, in one of London’s most deprived communities.

The staff were particularly keen that I should see debating teams from Years 10 and 11 debate before the whole of both year groups. The debaters were articulate and well prepared, just like the pupils in all those private school debating societies.

The motion they were debating was: “This House would abolish the private schools.” It was carried by two to one. All the old arguments were aired. Unfairness. Privilege. Elitism. Afterwards, I asked the girl who had led the charge whether she had ever visited a private school. “Of course not,” she said. “Why would they want to have anything to do with anyone from around here?”

Why indeed. It is time to bury the past and build a better future.

Andrew Adonis is a Labour peer and served as schools minister from 2005-2008. For a unique New Statesman reader offer on his new book, “Education, Education, Education” – just £8 (rrp £12.99), signed and with a personalised inscription – visit bitebackpublishing.com and enter the promotional code: NSEducation.

This article first appeared in the 17 September 2012 issue of the New Statesman, Who comes next?

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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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