Lynton Crosby, who ran Boris Johnson's 2008 and 2012 election campaigns. Illustration: Dan Murrell/New Statesman
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Lynton Crosby, David Cameron and the old dog whistle test

David Cameron and George Osborne agree with Boris Johnson on one thing at least: the Tories should pay Lynton Crosby “whatever he wants” to become their election strategist. So what is it about this rough-tongued Australian that so appeals to them?

It is not hard to imagine the torrent of disparaging comment that will break over the Tories if they put Lynton Crosby in charge of their 2015 election campaign. Many on the left would take the appointment of this rough-tongued Australian as proof that the Conservatives had “lurched to the right”. Crosby’s willingness to campaign on the issue of immigration, seen in elections he has run in both Australia and the UK, would be cited as proof of a disreputable urge to play the race card. Placing him in charge of the Tory machine would be treated as confirmation of a general coarsening, with the leadership adopting a narrow, retrograde and ultimately hopeless strategy of appealing to white-van man.

Nor is Crosby without his critics on the right. Peter Oborne, writing in the Sunday Telegraph, lamented that even though his appointment seems “almost inevitable”, it “would also mean a terrible defeat for everything that Cameron has stood for”, amount to “a public recantation” of the more generous approach adopted by the Conservatives after their general election defeat in 2005, and look “deeply inauthentic”.

Yet one might say the trouble with the whole Cameroon project is that it has seemed inauthentic. The manner of its leading exponents has often been so tentative as to suggest that even they do not really believe in what they are doing. This problem was exposed with embarrassing clarity during the 2010 general election campaign, which appeared to be based on the premise that David Cameron is a nicer man than Gordon Brown. As soon as Nick Clegg looked, on first gaining access to the nation’s living rooms through the leadership debates, as if he, too, might be nicer than Brown, the Tories were in trouble. They had no idea what they wanted to say. Veterans of that campaign recount with a shudder how, if in the space of a few days you’d asked four members of the Tory high command – George Osborne, Steve Hilton, Ed Llewellyn and Andy Coulson – to tell you the theme of the campaign, you’d have got four different answers.

Cameron and Osborne know that if they allow such a debacle to recur in 2015, their political careers will most likely be over. They are therefore desperate to obtain Crosby’s services, even though he worked with Michael Howard on the 2005 campaign, which ended in failure.

Ferocious discipline

So who is this highly prized but, to the wider public, still largely unknown Australian? He was born in 1957 in Kadina, South Australia, the youngest of a cereal farmer’s three children. Farming did not attract the young Crosby. He took a degree in economics from the University of Adelaide and, after standing once unsuccessfully for election in his own right, began work for Australia’s main right-wing party, the Liberals, in Queensland, where he swiftly rose through the ranks. His métier turned out to be winning elections for other people rather than himself. He is a witty, foul-mouthed, workaholic election addict, with deep insights into political strategy and a ruthless eye for the other side’s vulnerabilities: he likes nothing better than to peel voters away from opponents by forcing them to defend positions that will be unpopular with their own supporters. His appearance may be that of a nondescript man in his mid-fifties, but his talents have made him one of the most successful behind-the-scenes political operators of recent times. John Howard, who as Liberal Party leader won four successive general election victories in the period 1996- 2004, did so with Crosby at his side as his campaign manager.

If Crosby is to come and work again for the Tories, he wants to be paid a huge sum of money, to compensate him for the lucrative lobbying work he would otherwise be doing. He also insists on complete control of the campaign, including the polling that will help to inform it. This would have to be transferred from Populus – the company co-founded in 2003 by Andrew Cooper, Cameron’s present head of strategy – to Crosby|Textor, the company set up in 2002 by Crosby and his business partner Mark Textor. My expectation is that these demands will be met, which will dismay some of those who believe they are already doing perfectly good work for the Tories.

Michael Ashcroft, who used polling by Populus for Smell the Coffee, his study of what went wrong with the Tory campaign in 2005, has recently used the Conservative Home website, whose parent company  he owns, to declare: “I believe it would be a mistake to hire Lynton Crosby . . . I do not think he is needed and would become a distracting influence.”

Crosby could still refuse to work for the Tories. He has been known to say he is not going to rejoin the team, but my guess is that when it comes to it he will be unable to resist the temptation. Would this be the disaster that some so confidently predict? Nobody can know for sure how a campaign will turn out, but it would be foolish to count on Crosby getting things wrong. In the autumn of 2007, Boris Johnson’s first attempt to become Mayor of London was floundering, with critics suggesting that his eagerness to tell jokes betrayed a flippant amateurism that made him unfit to run a capital city. Osborne prevailed on Johnson to let Crosby take charge of his campaign.

The jokes ceased. For journalists covering the contest, this was an unwelcome development. We found ourselves cut off from our most reliable source of colour. For months at a time, it was impossible to get near Johnson. Crosby was subjecting him and the rest of the Tory team to the kind of ferocious discipline that used to be inflicted on languid recruits at the Guards Depot at Pirbright.

Johnson’s most recent biographer, Sonia Purnell, relates how, at his first dinner with Crosby, the candidate was told: “If you let us down, we’ll cut your fucking knees off.”
    
Before writing this piece I asked Johnson what it had been like having his campaign run by Crosby. He was “an absolutely brilliant campaign manager”, Johnson said. “I’ve never known anyone so good at motivating a campaign.” He had “a thing called the pink cardigan”, and “all these hordes of young people working for him”. At the end of each day, he would throw the pink cardigan to someone who had “monstered the Labour Party or done something particularly distinguished”.

Johnson recalled how, one evening, “I tottered to the end of a gruelling encounter with some Tory London councillors. I tried feebly to motivate them on various themes, and I was leaving them at about 9.30 at night, feeling rather wan about things, and I got a text from Lynton which said: ‘Crap speech, mate.’”

There is a bracing realism to Crosby’s style. He does not seek to evade inconvenient truths with English politeness. But I put it to Johnson that it was a pity Crosby had forced him to stop telling jokes. “This is all hysterical nonsense,” he said. “The awful truth is that the electorate won’t take you seriously unless you take yourself seriously. If you don’t take yourself seriously they don’t think you’re taking them seriously.”

Londoners reckoned Johnson was serious enough to elect as their mayor in 2008, and to re-elect for a second term in May this year when Labour had been well ahead in the polls. Some of the credit for turning Johnson into a professional belongs to Crosby, though Labour prefers to place all the blame for defeat on its candidate, Ken Livingstone.

Blow your own foghorn

Johnson told me the Tories should do “whatever it takes” to hire Crosby to run the 2015 campaign: “Push the boat out, break the piggy bank, kill the fatted calf.” One cannot help being struck by this rare example of Johnson agreeing with something that Cameron and Osborne want to do. The appointment would be popular on the Tory back benches, which assume Crosby would treat the Liberal Democrats far more roughly than Cameron has done. In the mayoral elections, he proved expert at harvesting Lib Dem votes for Johnson.

But what about Crosby’s first campaign for the Tories in the general election of 2005? To begin with, things went well. On 26 March 2005, Andrew Grice, in the Independent, wrote of Crosby: “Since the pre-election campaign began in January, he has helped the Tories to set the political agenda for a sustained period for the first time since Black Wednesday in 1992. He is credited with turning a rusty party machine into the Rolls-Royce it was in Margaret Thatcher’s heyday.”

But in his book The End of the Party, Andrew Rawnsley gives the liberal intelligentsia’s view of what happened next: “After a slick start that worried Labour, the heavy emphasis the Tories put on immigration made them look opportunistic, monomaniac and unattractive to centrist and floating voters. In a well-timed speech in Dover [delivered on 22 April 2005, Tony] Blair charged his opponents with seeking ‘to exploit people’s fears’ and skilfully punctured Howard’s posturing on the issue. ‘The Tory party have gone from being a One Nation party to being a one-issue party.’”

Michael Howard won 33 more seats than the Conservatives had got at the previous general election, but only 0.7 per cent more of the vote. He managed to scandalise the intelligentsia without gaining large new support from Labour voters who were indeed worried about immigration. Crosby denied after the campaign that he had used a “dog whistle” to send surreptitious messages: “It was more like a foghorn.” Whatever instrument it was, few voters obeyed its instructions.

Rupert Darwall, a former adviser to the chancellor Norman Lamont who worked for Crosby during that year, said the campaign “didn’t come off because the Conservatives didn’t have an economic policy”. There was a boom, and Gordon Brown’s reputation as chancellor was still intact. Like Johnson, however,
Darwall has the highest respect for Crosby. “I’ve never come across such a good manager,” he told me. “He inspires the people working for him. He selects people he trusts and he doesn’t micromanage. The irredeemable sin is screwing up and not telling him.”

On being asked what economic policy Crosby would wish to pursue in the 2015 campaign, Darwall said: “He would reconfirm the view that getting control of borrowing is crucial. Normal people don’t buy the Keynesian thing that to get borrowing down you have to borrow more. Ed Miliband and Ed Balls would have a very hard time. I think Lynton Crosby would be a nightmare for Miliband.”

When I protested that commending deficit reduction for month after month with workaholic discipline sounded dull, Darwall replied: “It is disappointing for the media. It is not disappointing for the people who work in the campaign.”

Crosby’s partner Mark Textor has expressed their contempt for much of what appears in the media. Writing in the Sydney Morning Herald this summer, he argued: “Most is borderline trivial, certainly irrelevant. But that has never discouraged the commentators.”

One of John Howard’s strengths, in the victorious campaigns he waged with Crosby’s assistance, was his ability to say things that antagonised the Australian intelligentsia but appealed to ordinary Australians. In 1996, Howard defeated the Labor leader Paul Keating, an eloquent figure much admired by the intellectual elite, by appealing instead to core Labor voters who became known as “Howard’s battlers”. Howard carried conviction by choosing what looked like big challenges – a major tax reform, for instance – and sticking with them rather than cutting and running. His opponents will never forgive the ruthless way he exploited the question of immigration in the election of 2001. Howard was not charismatic, but he convinced voters that he had the Australian national interest at heart.

Senior Cameroons hope Crosby can work out how to appeal to the “strivers” identified by the Prime Minister in his speech to the Conservative party conference in Birmingham last month. These Tories recognise that one speech does not constitute a campaign, and are confident that Crosby has the professionalism needed to construct the latter. A close observer compared No 10 to a country house where everyone is very friendly and polite but no one knows who is in charge, nor even whose job it is to do the washing-up.

Almost everyone is fed up with this situation. The Tories want to be told what they need to do to win the next general election, and they think Crosby can tell them.

Crosby naturally refused to talk to me before I wrote this profile. He said he is not running for anything and is sick of being misrepresented by British journalists. I did, however, manage to have an enjoyable and illuminating talk with him last December, when I was updating my biography of Boris Johnson. It was clear that he had a keen understanding of his candidate’s strengths, and of the need to stop Livingstone from turning this year’s mayoral election into a straight Labour-Tory fight. Johnson did not emerge from that campaign as a horrible right-wing extremist, but as a person some Labour voters in London felt comfortable about supporting.

At the end of our conversation, Crosby presented me with a Boris Johnson campaign mug. I remarked that when I got it home, my wife, who is a Labour councillor in London, might well smash it. He thereupon gave me a Boris Johnson umbrella, saying as he did so: “This’ll really piss her off.”

Here is a man who delights in provoking Labour. The cleverest way to oppose him might be to be very nice about him. I am not sure he would know how to deal with that.

Andrew Gimson is the author of “Boris: the Rise of Boris Johnson” (Simon & Schuster, £7.99)

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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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