Weeds grow outside the gate of an abandoned General Motors automotive assembly plant in Moraine, Ohio. Photograph: Getty Images
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How the Midwest was won

The US car industry went into a tailspin in 2008 just as Barack Obama was preparing to take office. His prompt action to save it — and Mitt Romney’s callous counter-proposals — may just win him this year’s election.

For 11 years, Stacie Steward commuted a hundred miles by car from Saginaw, Michigan, to the Sterling Heights Assembly plant outside Detroit. She is an electrician, in charge of maintaining 40 of the 700 robots at the plant, robots that make the 3,000 welds needed to construct the Dodge Avenger saloons that roll out of the three-million-square-foot plant and wait, gleaming in the hazy autumn sunshine, for trucks to take them away.

Right now, Sterling Heights is operational 22 or 23 hours every day, with only a couple of hours’ downtime for maintenance. When it’s running, a new car emerges every 60 seconds, like clockwork. I stand at the entrance with Steward and watch them come out. Tick, tock. A new blue car. Tick, tock. A new red car. But for several weeks in 2008 to 2009, just as Barack Obama was taking over from George W Bush on a tidal wave of hope and change, the whole industry, Sterling Heights included, shut down completely. “It was a dark time everywhere,” she told me. “There was no traffic on the roads.” She remembers a picket where staff from local grocery stores and bars joined the auto workers. “They were all getting laid off, too.”

In 2007, the US car industry had directly employed more than a million people; but in 2008 alone it shed a tenth of those and was on the brink of catastrophe. Opinion is split on the main reason for this. Some say powerful unions led to unsustainable workforce practices: at the beginning of 2008, workers for American car manufacturers earned considerably more than their counterparts at foreign-owned car firms – up to 20 per cent more – and enjoyed better benefits. Others say that the Big Three US car firms (Chrysler, Ford and General Motors) suffered from outdated strategy, concentrating on big SUVs and pick-up trucks when consumers were turning towards more fuel-efficient models. Whatever the reason, when the credit crisis rolled around, the auto industry in Michigan and Ohio was already struggling.

“When the economy started taking the tank in 2007 our hours got cut; the number of cars getting built got cut,” says Steward, whose plant is owned by Chrysler. “I got laid off. My unemployment from the state ran out twice. I went through two times when I was like: ‘Oh my God, I’m not going to get any money at all.’ When I saw Obama on TV say that he was going to give the loans [to GM and Chrysler], it was like – it was like heaven. Heaven.”

In the closing days of the Bush administration, December 2008, just days before Obama took office, it became clear that General Motors and Chrysler were unable to cope, and they were given $17.4bn between them in emergency loans to stave off bankruptcy, using money from the federal $700bn bank bailout fund.

This alone wasn’t enough. When Obama moved in to the White House, he assembled a presidential task force, led by the financier and “car tsar”, Steven Rattner, and the treasury secretary, Tim Geithner. On 18 February, GM and Chrysler requested bridging loans: $16.6bn for General Motors and $5bn for Chrysler. They received them, but by April both were entering bankruptcy procedures. The task force stepped in and forced a restructuring of both companies – some loans, a rearrangement of assets, a deal for Chrysler that sold a 20 per cent stake in the firm to the Italian car manufacturer Fiat as well as 68 per cent to the union retirement medical fund, and a government stake of 61 per cent in GM.

Today, both are back from the brink and the future is bright. The US treasury still holds 26 per cent of GM, but the company is negotiating for ways to buy back its independence from the taxpayer – and on 24 May 2011, Chrysler repaid the last of its loans, several years ahead of schedule. The company held a party to celebrate, at the Sterling Heights Assembly plant.

****

North-west Ohio is flat. Dead flat. The kind of flat where you can see for miles, but where the horizon is always close. Between the towns, the roads are arrow-straight. Out here, where it could be 30 miles to the nearest shop or the nearest school, a car is more than just a tool; it’s a necessity. A religion.

This is the middle of the Rust Belt. The name came about as the industrial era was waning in the latter half of the 20th century, when the steel and manufacturing industries were beginning to lose out for the first time to cheaper competitors overseas that were faster to adapt to circumstances and less enthralled with unionisation and workers’ rights. The cities built on steel started to decay.

Today, because of the government rescue, the Rust Belt is still the home of the American auto industry. To the north in Michigan, Detroit - Motor City - is its beating heart, and Ohio is its muscle.

About 848,000 people here do jobs that are directly dependent on or tied to the auto industry. The Chevrolet plant in Lordstown produces the top-selling Cruze. A gigantic Chrysler plant in Toledo makes the Jeep Wrangler and Jeep Liberty; another factory there makes gearboxes for GM. The cities of Dayton, Kettering and Sandusky are home to GM parts-factories. Euclid, Ohio, makes seat covers. Vandalia, Ohio, has a door panel assembly factory. Chrysler makes steering columns and torque converters in Perrysburg, Ohio.

Defiance, Ohio, is a small town about an hour south of Toledo, three hours south of Detroit, with a population just shy of 17,000. On its outskirts is Defiance Casting Operations, a two-million-square-foot steel foundry that casts engine blocks and piston heads for GM. It directly employs 10 per cent of the town’s population. Downtown, in a branch of the private members’ club the Fraternal Order of Eagles, a poker tournament is in full swing.

One of the players at the tournament is Chris Mendez, an ex-marine who now works at the foundry. Does he feel like Obama saved his job? “There’s no doubt in my mind,” he says. “He saved all our jobs. [Before the bailout came,] over half the people at the plant were laid off. I was laid off. When they happened, when we had word that GM was going to be OK . . . it was great. I was overjoyed. I’ve got three kids; when I was laid off they were terrified. I’ll do everything I can to support him – and make sure he gets re-elected.”

Is the bailout his main reason for voting? “Yeah.” How does he feel about Mitt Romney? “I don’t like him. I think he’s for the rich. I think he’s anti-union and anti-labour.” Will the bail­out swing Ohio? “I really think it will.”

Outside the club, an old man with a walking stick, wearing a battered Stetson, is smoking a cigarette with hands that shake. Rick Kantout is a Vietnam veteran and retired GM employee, and when I bring up Romney his response is venomous. “I think he’s a son of a bitch.” He spits on the ground. “Romney and the Republicans aren’t for the middle class. They’re for their own self-interest.”

The White House may sit on Pennsylvania Avenue, but the state that makes most difference to winning it is Ohio. The ultimate bellwether, it may return only 18 votes in the electoral college, but only two presidents since 1896 have won the presidency without it. That’s why the candidates are making such a play for the hearts of its voters; both of the main campaigns have spent more money on advertising here than in any other state, and spent vast amounts of time on the stump here, too.

Romney supporters have been celebrating positive national polling in recent weeks. The first findings after the initial presidential debate on 3 October, by pollsters of the Pew Research Centre, showed Romney leading among likely voters for the first time by 4 points – an extraordinary 12-point swing from their previous poll in September. Gallup, too, found a (less dramatic) shift to Romney after the debate, showing him tied with the president on 47 per cent, and a Reuters/Ipsos poll showed the same. But in Ohio Obama has held his edge: a CNN poll released on 9 October put him still 4 points clear of Romney.

Why is this? The answer can be found in an op-ed article Romney wrote for the New York Times in November 2008, condemning the bailout. “If General Motors . . . and Chrysler get the bailout that their chief executives asked for yesterday, you can kiss the American automotive industry goodbye,” he declared, with devastating hubris.

The statement has been used against him endlessly. At the vice-presidential debate on 11 October, Joe Biden repeated Romney’s words twice in full. Romney has counterattacked on the campaign trail by pointing the finger at Chinese currency-lowpegging taking American jobs, but that argument is failing to fly here – unemployment in the state, at 7 per cent, is lower than the national average of 7.8 per cent, and that also is falling. One in every eight jobs in Ohio depends on the auto industry. As the local reporter Jack Palmer tells me, “Certainly, the Osama Bin Laden is dead and General Motors is alive message” – one of Obama’s and Biden’s central campaign slogans – “could go a very long way.”

The Obama for America campaign has spent an astonishing $52.75m so far in Ohio, its highest spend on any state in the US. One omni­present advert runs footage of Romney defending his position on Detroit. “Yes, that’s exactly what I said,” he says, in footage taken from a television interview: “that headline you read... ‘Let Detroit go bankrupt’.” Over and over again, it repeats. The message is inescapable and, to people like Rick Kantout, irrevocably damning.

****

The United Auto Workers union has more than 390,000 working members and twice that many retirees, most of them here in Ohio and in Michigan. As it is restricted by law from using union funds to run political activities, it has a separately funded political wing, known as the CAP – the Community Action Programme.

The CAP boss in north-west Ohio is Joe Eureste. A lifelong union man, he started working for General Motors four days after graduating from high school in 1972 and has been there ever since. He has a deep sense of mission. “When people get fat and happy, they say it doesn’t matter,” Eureste tells me. “But it does. We have to make sure we keep it to the forefront that [the collapse of the auto industry] could have happened, and could happen again. A lot of people are appreciative of having their jobs, getting rehired. Our job is to make sure they don’t forget it.

“We were going to lose eight jobs in the community to every GM job lost. That’s a lot of people.” He laughs, and then refers to Romney’s old firm. “You were going to have your Bain Capitalists come in and pluck the meat off the bones, and discard pensions; how could they restructure otherwise? So when the government stepped in they helped us all survive.

“I keep telling people: make sure you remember who was on your side and who helped you. Some people have short memories. Our job is to make sure we don’t.”

In the parking lots that surround the vast steel fortress of the Defiance foundry are acres of Chevrolets, Buicks, Lincolns and Oldsmobiles, Fords and Cadillacs. I can’t see a single imported car. A bumper sticker on a GM pick-up truck says: “Out of a job yet? Keep buying foreign.” Opposite the main exit to the plant, a billboard carries the local Obama campaign’s favoured slogan: “Osama Bin Laden is dead. General Motors is alive.”

Dwight Chatham is the just-retired president of UAW Local 211, the union’s chapter in Defiance, which has 5,000 members – more than a quarter of the town – of whom roughly 3,500 are retirees. When I meet him at a coffee shop halfway between downtown and the foundry, I ask what would have happened if GM and Chrysler had been allowed to go under. He chews thoughtfully on a toothpick. “A lot of people would be out of work. A lot of people. I truly believe that if Obama hadn’t stepped in, the Defiance plant would have closed.”

What would that have done to the community? “It would have been devastating. Devastating. This is the largest plant in the county; it funnels a lot of money back in, to schools, the town. If it had closed –” he pauses, and shakes his head – “devastating.”

The chair of the Defiance County Democratic Party, Charlie Gray, grew up in a union household. “My father was the first shop committee chairman at this plant,” he says. “My mother was a union organiser.” I ask Gray if he thinks the bailout will help the president win votes. “It’s helped the president a lot. [People] realise what the situation would have been like without it.”

David Jackson, associate professor of political science at Bowling Green State University, 20 minutes south of Toledo, tells me that the bailout is a powerful influence on votes in the industrial north of Ohio. “It will definitely energise the union base. The bailout could be a real factor for turnout.”

That is crucial, he says. “This is looking like a turnout election, like 2004. It’s all about who can get their base out. [The bailout] will certainly get out the base for the Democrats.”

That’s important when you consider the diverse political make-up of Ohio as a whole. “Take the state of Ohio and draw the letter C on it in reverse, starting in Toledo,” Jackson says. “Going east along the top through Cleveland . . . that’s the section of the state where union membership is the strongest, the north part. In the 2010 election – a landslide year for Republicans nationally – the governor [Ted Strickland, a Democrat] came closest to re-election in the north.

“Then, going down the eastern border with Pennsylvania and West Virginia [in the old coal-mining areas of the Appalachian Mountains], that is Democrat as well, though in 2008 Obama underperformed Bill Clinton in those areas – because those are the working-class white voters he’s had trouble with.” The middle is more rural: conservative heartland, agricultural areas and wealthier towns. It is this diversity that makes Ohio such an important political indicator.

“The question,” Jackson says, “is can the union turnout in industrial north Ohio compensate for the Appalachian white Democrats [in the south and east] not turning out? That’s the question. I certainly think Obama has to be looking at it. Maybe it’s time he got Bill Clinton out campaigning for him down there.”

Not every GM employee is enamoured with the bailout, nor is it the most important political issue for everyone in the north. Randy Peabody is a metalworker for GM of nearly 39 years’ standing, and a proud Republican for “moral reasons”. “I don’t support Obama,” he explains, “and I think the investors got a bad deal. The workers were given the farm; they did really, really well out of it. The auto industry . . . I think the government ought to stay out of it.”

There is no doubt that the United Auto Workers did extremely well from the bailout – or at least escaped most of the hardships that unionised labour usually suffers in a bankruptcy. Gold-plated pensions and benefits were protected for all those retiring, and workers at General Motors still enjoy wages 10 per cent higher on average than those at their foreign competitors.

President Obama has been accused of fav­ouritism, even cronyism, with the UAW. In the bankruptcy of Delphi, a parts manufacturer for GM, UAW members were paid certain benefits while non-union workers – 41,000 of them – were not. Local car dealerships, too, were cut with brute speed during the bailout. But none of them would have stayed open if GM and Chrysler had been allowed to go bankrupt, and union workers have taken some hits: there is still a no-strike clause in force at Chrysler and GM plants. “I think if we had more time, we might have asked all the stakeholders to sacrifice a little bit more,” Steven Rattner, one of the architects of the bailout under Obama, confessed at an event in 2011.

“We didn’t ask any active worker to cut his or her pay. We didn’t ask them to sacrifice any of their pension, and we maybe could have asked them to do a little bit more.” He said that, nonetheless, he considered the bailout to have been very successful overall: “A happy ending.”

I am reminded of this while on hold to Solidarity House, the UAW’s regional headquarters in Detroit. The hold-music is a pop song by Kelly Clarkson. “What doesn’t kill you makes you stronger,” she sings. 

****

The Renaissance Centre, on the shoreline that separates Detroit from Canada, is a vast 1970s edifice of seven enormous towers topped with a five-storey-high General Motors logo. Around its base, Motor City skulks like a shadow. At the base of the central tower is a showroom filled with gleaming new Cadillacs and Corvettes.

Greg Martin is GM’s director of global communications. “I can’t wait until this election is over,” he tells me. “We’re in a position no other company’s ever been in before, where we’re a central part in a political debate.” He shrugs helplessly. “We just want to be a great car company. We don’t want to be a political football.”

The year 2011 was the most profitable in GM’s history – $7.6bn in net income, $150.3bn revenue, after ten consecutive quarters of profitability. A stock-market flotation in 2010 generated $13.6bn for the US treasury and reduced government ownership from 60.8 per cent to 32 per cent. The company has just invested $47m in making improvements to the Defiance foundry. Chrysler’s balance sheet, too, is looking better. This year, the company had its best September since before the 2007 financial crisis, with sales up 12 per cent on September 2011. The Dodge Avenger – made at the plant in Sterling Heights – is up 89 per cent to a record high. Chrysler is spending $850m to expand the site to include a million-square-foot body shop and a new paint shop.

The day I meet Stacie Steward there, it is “Obama Tuesday”, when the workers wear campaign badges and talk about politics, showing their support for the president. This isn’t union-organised: just ordinary workers showing grass-roots support.

“I’d say the feeling in my plant is probably 80 to 85 per cent in support of Obama,” she says, “but you always run into those people that are hardcore Republicans. That’s fine, it’s a democracy. But like I tell everybody: ‘You be what you wanna be, but you gotta think about your job when you go into that ballot box. Think about who saved your job.’”

I ask what she thinks of Mitt Romney. “How could he say he’d have let Detroit go bankrupt? How could his heart be there? I think he’s an elitist, and his heart doesn’t know what middle class is. He’s out of touch. He’s not evil; he has a good Christian heart. But he just don’t un­derstand what it’s like to be a regular working Joe Blow that gotta go to work every day. He just don’t get it.”

David Jackson at Bowling Green State University is a betting man. “I put money on sports, horse races, so why not politics?” He says his money is still on the president despite Romney’s recent poll boost. “I think it’s going to be a 2- or 3-point nationwide Obama victory and a slightly larger electoral college victory.”

He is unequivocal about his home state. “Obama will carry Ohio. It’ll be an election based on turnout, and they [the unions and the Obama campaign] have a better turnout operation. That’s something that’s really changed over eight years: [John] Kerry had a terrible turnout operation [in 2004]. But Obama doesn’t mess around with this stuff, and this – this is a turnout election.”

As I get off the phone, the ad spot is running again on the TV. The sound is off but I know the words by heart now. Most of the population of Ohio does. “Yes, that’s exactly what I said,” Romney is saying. On the screen he even seems to sag, but the punchline is as inevitable as ever. I read his lips: “Let Detroit . . . go bankrupt.”

Nicky Woolf is a writer for the Guardian based in the US. He tweets @NickyWoolf.

This article first appeared in the 05 November 2012 issue of the New Statesman, What if Romney wins?

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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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