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The Age of Entitlement

The new super-rich have no allegiance, obligation or connection to wider society. They live in a mirror-lined bubble – and a legally entitled one. Can anything beyond another crash change things?

Nobody loved Bowater House in Knightsbridge. The demolition of this late-1950s, modernist mess in 2006 was greeted with general relief. Yet it did have one virtue. Through its core was cut a wide opening for a roadway that gave us all a view of Hyde Park and of a sinewy, thrilling Epstein sculpture of a family group, urged on by the god Pan and racing on to the green sward.

There is no such large opening in One Hyde Park, the building that replaced Bowater House. Instead, Pan has been relegated to the end of a much smaller public road that has been intimidatingly designed to look private. The great people’s invitation into the park has been lost. The public realm has not been abandoned altogether, however. At ground level there are shops, punctuated by some very limited planting. So, if the people care to struggle across the hellish confluence of roads that forms the heart of Knightsbridge, they can peer through the windows to see Abu Dhabi Islamic Bank, Rolex watches or McLaren cars. Things they cannot have.

One Hyde Park was developed by the Candy brothers and the Qataris and was designed by Rogers Stirk Harbour & Partners, the current incarnation of the once-idealistic Richard Rogers practice. The 86 flats start at £20m; a penthouse sold in 2010 for £140m. The building is an aesthetic, planning and social catastrophe. An inaccessible, menacing fortress looming over Knightsbridge, it symbolises the dark wealth of the entitled elite who have claimed the boroughs of Westminster and Kensington and Chelsea as their own. But it is just one big sign of a ruthless landgrab among many little ones.

Staff at the Kensington High Street branch of Carluccio’s – a pleasant, neighbourhood place – dread being sent over to South Ken. That’s banksterland. Mothers disrupt service with their giant baby buggies, the children are rude and even the toddlers snap their fingers at the waiters. Then there are the shops. In Knightsbridge’s “golden triangle” of streets and around Brompton Cross are all the “flagship stores” of the highest of high-end retailers. I used to like going there to watch and marvel at the very rich and to see the beauty that money could buy. Once in a while, feeling a bit flush, I might buy something. Not any longer.

Recently, in an idle moment, I wandered in - to the Ralph Lauren shop at Brompton Cross. I noticed a pair of shoes, quite nice, about £300, I reckoned, allowing for the location and the general flagshipness of the place. The shoes were £750, a price that bore no possible relation to either the cost of manufacture or the quality of the design. These people, I realised, don’t care about only fairly affluent me or my class any more. They’d rather I left, because they can sell all their stuff at any price, in effect, to the bonus boys and girls.

“Almost by definition, these things aren’t for you,” John Lanchester tells me on the phone. He is the author of Capital, the 2012 novel that defined the moral climate that led to the last financial crash. “The whole thing about luxury goods is that they’re an inter - national language. The prices don’t track the middle-class, aspirational market; they’re for the super-rich, who don’t really care what things cost. In fact, they want them to cost more, because the price signifies only that most people can’t afford them.” (Lanchester captured entitlement in the character of Arabella in Capital, a woman so ignorant, vain and greedy, she did not even understand the possibility of being unable to afford something. Now I see and hear Arabellas all around me when lunching in central London.)

Perhaps it was ever thus: the rich have always been different. But that’s not true. Some - thing big, something moral, has changed. Driving through Knightsbridge (occasionally one must) I noticed a huge, absurd, orange and, in London, practically undriveable Lamborghini illegally parked. Once, I would have been amused, but now I feel angry because I know – we all know – it was probably bought with stolen money.

“Shocking” is too soft a word to describe the crimes of the financial sector. They are almost thrilling in their creative abundance – laundering money for drugs cartels; defrauding old people, small businesses, investors and shareholders; rigging markets; sugarcoating dud loans to look like good ones; loading the world economy with ever greater levels of risk and throwing millions of people out of work. And so on. All the time, they were enriching nobody but themselves. The banks and their buddies have been on a crime spree that would have glazed over the eyes of Al Capone.

Yet here they still are, with their undriveable orange cars, their buggies, their dark fort - resses and their rancid sense of entitlement because, in short, they don’t get it. Apparently the bonus boys see “casino banking” as a flattering term rather than the insult intended. Furthermore, the use of vast sums taxpayers’ money to save the banks is seen as no more than their God-given right.

“I live near Wall Street,” the economist Jeffrey Sachs said at an event. “The sense of entitlement is beyond quantification. They could not figure out why anyone might be mad at them for having nearly destroyed the world economy, taken home $30bn a year of bonuses, gotten bailed out to the tune of another trillion dollars and then lobbied for no regulation afterwards . . . I don’t think they were kidding anyone except themselves. I think they don’t get it.”

But we get it and we don’t like the rich any more because they all seem tainted. Lanchester points out that real business people – those who do useful things – are as angry as we are, accusing the bankers of wrecking and discrediting capitalism. (I sympathise. I have always regarded myself as a conservative and still do, but these shenanigans have tainted even that gentle world. Like most true conservatives I know, I regard the failure forcibly to end these abuses as a disgrace and a grave threat to the social peace we crave.)

Certainly people’s attitudes to companies in general has changed. Energy suppliers, telcos, retailers are all treated with a grim, resigned mistrust. To be allowed to participate in the society of entitlement, you have to agree to be ripped off. In spite of this, globally, politicians have decided to ignore the insights and sense of justice of their electorates and shown no desire to restructure a failed and still dangerous system, not even to imprison the most egregious wrongdoers. So the Age of Entitlement endures. What does this mean for society as a whole?

First, it is necessary to understand the origins of this psychology of entitlement. Economically, it can be said to be neoliberalism, the cult of free markets and deregulation that swept the world from the 1970s onwards. In neoliberal thought, expressed most trenchantly by Milton Friedman, the job of a company was to obey the law and reward its shareholders; it was not obliged to take on the wider ethical and moral concerns of society. In the 1980s, this became “greed is good”, certainly not what Friedman meant. I witnessed the cult’s apotheosis at the World Economic Forum in Davos in the early 1990s – I sat in on a meeting at which sharky young businessmen more or less said they would trample on their grandmothers for the sake of the bottom line. Viciousness had been validated. That is the enduring view in the financial sector.

“There is no incentive in the financial world,” a very prominent insider told me, “to be moral.” The point is that society rewards company directors with the enormous blessing of limited liability and, in return, should expect them to behave not just technically within the law but responsibly as persons. Failing – or refusing – to understand this underpins the sense of entitlement. Because much of what they did was not tech - nically illegal, the bankers feel that they did nothing wrong. Yet, in our own lives, we know perfectly well that some of the worst things we can do are not illegal. The financiers’ defence is made even more hopeless by the banks having been anything but good neoliberal institutions. Far from believing in free markets, they acted like a cartel and did everything in their power to rig the markets in which they operated.

Coupled with this was a generational change, identified by Jean Twenge and W Keith Campbell in their book The Narcissism Epidemic: Living in the Age of Entitlement. From the late 1970s onwards, they detected a rise in narcissism among the young. Unlike the generation of the 1960s and early 1970s, these young people did not identify their goals as social or political but solely as personal. “There was a big shift in the 1980s away from the 1960s and 1970s,” Twenge told me, “. . . making a lot of money was no longer suspect. In the 1960s and 1970s it was not cool, but that flipped around.”

So, in the 1990s, a socially and politically quietist, narcissistic and self-seeking generation was well prepared to take advantage of the progressive deregulation of the financial system, primarily orchestrated by the then chairman of the Federal Reserve, Alan Greenspan, a card-carrying believer in the doctrines of the hyper-libertarian fruitcake Ayn Rand. After 1997, the British Labour Party drank disgracefully deeply of this toxic, superstitious cocktail. Peter Mandelson declared that he was “intensely relaxed” about people getting “filthy” rich. In the midst of what turned out to be one of the most lethal (and preventable) bubbles in financial history, this was one complacency too far.

Both psychologically and theoretically, therefore, the Age of Entitlement was firmly established by the mid-1990s; indeed, so firmly established was it that it was imper - vious even to the overwhelming evidence of its fragile foundations. The collapse of the hedge fund Long-Term Capital Management in 1998 nearly brought the US economy to its knees – even though it had Myron Scholes and Robert Merton, creators of the critical equations on which financial neoliberalism was based, on its board. The neolibs sailed on regardless.

And still they sail on. Throughout the crisis, the beneficiaries of the criminality and rigged markets into which neoliberalism had descended continued to enrich themselves. In 2012 the 100 richest people across the world grew $241bn richer, taking their total net wealth to $1.9trn. The poor and the middle classes, naturally, got poorer. Levels of inequality of a kind that threaten the social fabric – especially in the US and the UK – are one of the most alarming legacies of the Age of Entitlement. The crisis is not over; in fact, it may hardly have begun.

Part of the problem is the way the wealthy entitled have managed to make their world so easily selfsustaining. They are certainly good at outsmarting our elected leaders. “George Osborne and his friends go down to the City with some idea,” one hugely rich but very politically aware financier told me, “and the bankers blind them with science – saying, ‘Well, you could try that, but we wouldn’t be responsible for the consequences’ – so, nothing happens.”

The new entitled live in a mirror-lined bubble. Also a legally protected one. I was told of a hedge-fund boss so vile that investors withdrew their money but did not sue, because other hedge funds would then refuse to do business with them. On top of that, they are protected in Britain by libel laws and a tax system that, as John Lanchester points out, not only shields our own entitled from scrutiny but also encourages equally entitled foreigners to come here.

“You might as well say, ‘Bond villains, come and live here,’ ” he says. “Our libel laws don’t help. There are a lot of zillionaires about whom we are going to read the truth uncensored only when they are dead. It’s an astonishing situation, when we have such a proliferation of incredibly rich criminals.”

If that is the tragedy, the comedy is almost as alarming. Even the Financial Times last month was stunned to discover that bankers have been invited into schools to teach our children about money. The Royal Bank of Scotland, our most thoroughly disgraced financial institution, was, of course, represented. I can think of many people I could ask for advice about money. None of them is a banker.

Or there is the way the incontinent vanity of the newly entitled spills over into insults directed at their closest political allies. Towards the end of last year, Kevin Maguire reported in the New Statesman that members of the Bullingdon – the clownish club for the cream of Oxford society (the rich and thick) of which Cameron, Osborne and Boris Johnson were once members – had taken to burning £50 notes in front of beggars.

Most comical, but also most sad, are the attempts by the entitled to fit in with and compromise with the ordinary lives of others. In a remarkable piece for the Sunday Times Style magazine published in December, Kate Spicer interviewed members of the entitled generation that will reap the rewards of the wave of criminality that engulfed our financial system.

Goldman Sachs, Spicer reported, runs a course for partners on “how not to f*** up your kids” which encourages them to take the bewildered brats to the supermarket occasionally. (A friend of mine whom Goldman Sachs attempted to recruit in the 1990s was struck by the way, late at night, there were cars waiting to take the employees home, so that they need never see any street life.)

Unfortunately, the lesson “be nice, be normal” often fails to sink it. Spicer wrote of how Nell, the twentysomething daughter of the strikingly unpleasant former boss of Barclays Bob Diamond, defended her dad on Twitter by suggesting that Osborne and Ed Miliband should “go ahead and #hmd” – “hold my dick”.

Spicer also quoted Alexa, aged 17, who thought it “quite funny – people have no understanding, interest or involvement in something and then suddenly get all het up about it. I went on a drama course. I was one of very few private-school kids. This guy said, ‘Your dad f***** up the country,’ but he had a complete lack of understanding of the situation.”

Sorry, Alexa, but that guy was spot on.

The kids are worried about discrimination. Bankers’ brats now account for between 30 and 50 per cent of the intake of private schools, but they run into trouble when they have to talk to egalitarian-minded university interviewers and tell them that Mummy and Daddy paid for their gap-year adventures.

What is striking, reading Spicer’s interviews and copious other evidence, is that the narcissism Jean Twenge identified as having blossomed in the 1980s is still rampant. The children of the bankers do think they are better than the rest of us and that making money is what matters most.

“You commonly hear from companies now,” Twenge says, “that this generation really have new social goals, helping people and so on. Unfortunately, that is not backed up by the evidence from what the young people actually say. There is no resurgence in the idea that we really want companies to be responsible.”

One final feature of the Age of Entitlement must be mentioned. It is the viciously reductionist mindset behind what now happens in finance. In part, this derives from machines. Computers are like alcohol to Homer Simpson: the cause of and solution to all of life’s problems. Computers made the bubble possible and the 2007 crash (and the next one) inevitable. They created high-speed, mechanised trading and enabled the application of mathematics to the markets – bad maths, as it happened, given that the primary equations were derived from physics that dees not apply to human affairs.

But more important is the reductionism that was implicit in neoliberalism as it became in the hands of the entitled. Money, in this view, is the measure of all things. An angry and very serious financial player told me how he had spent 20 years helping build a company; then the private-equity people moved in and told him he wouldn’t get a penny because he had put no money in. “They were saying all you need to make money is money – you can forget about the decades of work that went in before they even joined the party. They were arrogant beyond belief.”

This reductionism is perhaps the most dangerous assumption of the Age of Entitlement. Money, as Bob Dylan sagely observed, doesn’t talk, it swears, and for this swearing to be effective it must be embodied in an ethical, moral, political and social realm that cannot, in and of itself, be reduced to money. That realm is being eroded rapidly, not only by the entitled, but also by the craven worship of cash that now suffuses the culture. It is this that is successfully disseminating the depraved idea that merely to be rich is to be entitled. To sample the idea, go to the Rich Kids of Instagram tumblr, a website of images of the young wealthy swigging from magnums of champagne and posing next to private jets. The site’s tagline is, “They have more money than you and this is what they do.”

Taxation cannot change this, as the French are learning. The next crash might and several hundred – or several thousand – bankers in prison would help, as would the demolition of One Hyde Park to give us all a view of the green sward. What would definitely change the climate of entitlement would be a dismantling of its psychological basis, the mindset that has created a super-rich class with no allegiance, obligation or connection to wider society. The ears of the entitled need to be unstopped so that we can whisper to them, ever so gently, “If you’re rich be grateful and, here’s another great idea, earn it.”

This article first appeared in the 04 February 2013 issue of the New Statesman, The Intervention Trap

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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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