A traditional reedcutter at work on the Norfolk Broads. Photograph: Getty Images
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The frisson of autumn on the Norfolk Broads

A reminder is that we share a habitat and a common experience with other creatures.

Mid-autumn, just before our boat goes into dry dock for the winter, has a special frisson on the Norfolk Broads. The reeds begin to bleach and reflect the sunsets, so that for a while the water appears to glow brighter as the dusk closes in. The last migrants leaving for Africa cross with the first arriving from the tundra, the swallow flying under the goose. This week the local kingfishers have reappeared, darting between moored-up cruisers and skin-diving between their hulls. We’ve seen otters close to for the first time, one rolling right in front of the boat with a huge bream in its paws.

But the rain and cold that have permeated 2012 are still casting shadows on all species that depend on the sun. Flying insects, the birds that eat them, the raptors that prey on the insectivorous birds have gone into guerrilla mode; hiding out in remote, sheltered redoubts, working unsociable hours, keeping= silent to conserve energy. It’s happening below the radar of most of us and just how much damage has been done won’t be known until the year’s records are analysed. It’s unlikely to be good news.

Does it matter either way? Short of outright extinction, is the fraying and fragmentation of species of any real consequence to us? The government seemed to think so when it set out its
 green agenda and acknowledged that biodiversity was essential to the earth’s survival and what it liked to call “quality of life” (ours, that is). Now, this commitment has gone the way of all its other green pledges. In the past few months the government has junked the advice of two of its own scientific advisory committees. The biologically absurd and culturally objectionable badger cull has been given the go-ahead (albeit delayed until next year). Incontestable evidence that neo-nicotinoid insecticides are one of the causes of the collapse of bee populations has not made a dent in Defra’s support for them.

Now Defra has asked the Law Commission to rationalise wildlife protection laws in the UK. Not a bad idea, perhaps, given the piecemeal way they’ve accumulated over the past hundred years. An updating would provide an opportunity to bring legislation into line with new ecological threats, and with our new understanding of the crucial importance of wild species to the earth as a whole. But this is not what the Law Commission has in mind at all. The first duty of wildlife law, it has put on record, is to “provide the framework within which wildlife can be controlled, so that it does not interfere with the conduct of human activity” – a principle that is equivalent to saying that the prime object of child protection laws is to ensure the wretched infants don’t get in the way of their parents’ career opportunities. The commission concedes that the law should protect individual animals from harm, but only if that harm is “above a permitted level”.

It’s not clear if these barbarous, commodifying guidelines were dumped on the commission by Defra. They certainly sit snugly with the government’s social and economic project. But they may equally show the UK legal establishment returning to its default position on wildlife. The status of a wild organism in common law is as potential property. While it is free and alive, it belongs to everybody, or, more correctly, to nobody. But by being “rendered into possession” – the legal euphemism for killing or capturing – it is turned into goods, the property of the owner of the land on which it’s taken. The notion of wildlife as part of the family silver – private inheritance more than common heritage – melds seamlessly into the idea of it as disposable nuisance, and many early protection laws carried an exception clause concerning “interference with legitimate human activity”. But this is the first occasion when the exception has been made the guiding principle.

As a principle for legislation it’s not only irrelevant but actively hostile to the conservation of our archipelago’s biodiversity, as well as offensive to anyone who regards living organisms as more than entries on a cost-benefit ledger. The problem is that we don’t have an agreed alternative scale for the “value of species”. That clunking, portmanteau term “biodiversity” doesn’t help. Like “natural capital” it’s an intruder from corporate-speak, defining species as commodities, whose numbers can be simply and demonstrably totted up. By this crude index a perilously rare species barricaded in a nature reserve counts equally with an ocean-wide phytoplankton fuelling an entire ecosystem. They’re both just ticks in a box, a place where the trader meets the twitcher.

Nor is our current attitude towards nature’s “usefulness” (the implicit opposite of the Law Commission’s “interference with the conduct of human activity”) remotely appropriate. By
useful, we mean useful to us – and visibly so. We may have grudgingly admitted pollinating insects into the realms of the utilitarian but not the predators that attack the parasites of the pollinators. We allow agricultural fungicides to leach into the groundwater and collaterally damage a “useless” (and probably unlovely) tree-root fungal symbiote and wonder why hedgerow oaks are withering . . .

The interdependence of species is far too complex for us to make crass and anthropomorphic judgements about what is and what isn’t “useful”.

In September a huge fin whale beached on the East Anglian coast at Shingle Street. It was thin and in distress and eventually died, despite Herculean efforts to get it back into the water. For a few days it became a kind of shrine, while the authorities worked out what to do with it. People flocked to the beach to see the sinuous carcass with its prodigious maw. They came out of a sense of wonder, or morbid curiosity, or simple melancholy. A great leviathan had lost its way and become embarrassingly dead meat. In the end utilitarianism triumphed.
The whale was carted off on a lowloader to a processing plant, where its blubber was rendered down for biofuel.

Were those of us who thought it would have been more fitting to bury the body on the shore guilty of sentimentality as well as serious impracticality? This is not a “conservation of biodiversity” issue: the loss of one fin whale is neither here nor there. But the fate of its remains nags us with another challenge: how we conserve the meaning of wildlife – which may underpin our so far feeble attempts to save it physically.

I’d like to argue that we should respect wild organisms for their own sake, because they’re here. But I’m aware that this is a philosophical conceit and that “their own sake” is really code for “my own sake” – or at least my aesthetic and moral satisfaction. The philosopher Edward L McCord’s book The Value of Species tries to find a compromise. He argues that “individual species are of such intellectual moment – so interesting in their own right – that they rise above other values and merit enduring human embrace.” This raises utilitarianism to an intellectual level but for me still fails to do justice to the sheer breadth of the experience of living in a world alongside other species.

Gliding west at last light on the Broads, the answer often seems self-evident. In October the pinkfeet geese return from Iceland. The great scrolls of birds unwind across the sky so high up that they make yet another plane of colour, their bellies lit pink by the sun long after it has sunk out of sight. But they’re not remote in any other sense. The ebb and flow of their chatter, the calligraphy, the waving scribbles of birds (“taking a line for a fly”, to misquote Paul Klee) speaks plainly about the company of one’s kind on great journeys.

The Broads are full of such moments. The spring duets of cranes, segued trumpetings that can carry half a mile and which are couched in a minor third, an interval found in every musical culture on earth. Swallowtail butterflies folding their wings to fly through raised sails. A strange aquatic plant called hornwort, which on very hot days, in a few unpolluted pools, fizzes with so much transpired oxygen that the stems “jiffle” against each other and sing like Aeolian harps.

The Broads – medieval open-cast peat mines that were inundated during a climate shift in the 13th century – have just had a “biodiversity audit” and the results are jaw-dropping for anyone who regards them as no more than a watery holiday camp: more than 11,000 species, including a quarter of the entire country’s tally of conservation priorities.

But the statistics say nothing about the kind of relationships that are possible with this cornucopia of life forms. A few hours before the geese fly in to roost we round the corner in Somerton Dyke, where the whirligigs begin. Everyone looks out for these engaging beetles, just a few millimetres long, as they drift about in flotillas close to the reeds. They shine in the sun, like beads of mercury, and every few seconds the entire gang bursts into a frenzy of high speed, near-miss swirling, a waterborne roller derby. It’s comic and touching and so far unexplained – except that, like the flights of geese, it feels intuitively comprehensible, a kind of dance about the companionships of crowds.

Whirligigs are ancient animals, whose family emerged more than 200 million years ago in the Triassic period. They have no known predators, because of an extraordinary skin coating, which is a highly scented, toxic and antibacterial wetting agent. Their hind legs work like paddle- steamer wheels and give whirligigs the highest acceleration of any aquatic animals. They do not “interfere” with any human activity, nor are in any way practically useful to us (though I suspect that pharmacologists and nano-engineers will be looking at their bactericidal moisturiser before too long). And though they have undoubted “intellectual moment” it’s not at all clear why they touch one so. You round a corner and there they are, at the usual address, and if they’re not you begin to worryand miss them.

This is nothing to do with anthropomorphism or manufactured empathy. It comes, for me, from something I can only describe as a sense of neighbourliness; the emotion the poet John Clare felt so powerfully for his fellow commoners, of all species. Neighbourliness is not friendship. It doesn’t demand reciprocity. It’s based on sharing a habitat, on the common experience of place and season and the hardships of weather. It might provide a bridge across that great conceptual divide between us and other species.

Richard Mabey’s most recent book is “The Perfumier and the Stinkhorn” (Profile, £9.99)

This article first appeared in the 29 October 2012 issue of the New Statesman, Something Rotten

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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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