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The suburb that changed the world

In the 1980s, Silicon Valley was populated by lefties and hippies who dreamed of a computer revoluti

In Sofia Coppola's 2006 film of the life of Marie Antoinette, there is a scene where an entourage of palace jeunes filles sweeps through a ball at which the set and costumes are period, but the music and manners are straight out of a modern dance club. The proposition seems to be that an elite few were able to put a toe into the future to experience what is ordinary today.

Something like that went on in the Silicon Valley I knew in the 1980s. The debates and dilemmas that occupy a generation today appeared in miniature before there was an internet. We took our anticipation of the internet deadly seriously, to the point where it seemed already real. Thus I have experienced the internet age twice.

Experiencing the internet in reality is different - and even bizarre, because although it seemed reasonable to expect the thing to come about, it is still uncanny that the reasoning was right. It feels as though we got away with something we shouldn't have done.

The internet arrived from two directions, one top-down and the other bottom-up. Initially computers and computer networking were both developed in military and government labs. The way you experienced computation from the 1960s often reflected this point of origin, with early computer companies such as IBM exuding a grey, regimented stoniness in order to appear seductive to their patrons.

In the 1970s, a small market emerged for hobbyist computers. You could build your own little box with blinking lights that you could program by flipping lines of switches on the front panel. That's all you could do at first, but oh, the ecstasy to be able to touch your own computer, if you had an inkling of where it all could lead.

A culture grew up around these hobbyist machines centred in Silicon Valley, and spawned the personal computer market - with Microsoft launching in 1975 and Apple in 1976. The centre of gravity split: the stony grey opposite delirious hippies and faux revolutionaries.

The turbulent confluence between top-down and bottom-up continues to this day. Internet start-ups sprout like garage bands. Most die, but a few explode into national-scale empires, as in the case of Facebook. Dreary top-down institutions such as wireless carriers maintain their lofty entitlements, though occasionally they drain away, like the old music business. I used to be partisan, favouring the bottom-up approach, but now I appreciate the balance of tides, because all kinds of power should be checked.

My first encounter with Silicon Valley was at the end of my teens, which was also the end of the 1970s. The world seemed carved into zones according to the degree of magic available. The highest magic was found in nexuses of hippie exuberance such as the beach town of Santa Cruz, California, where pearlescent rainbows covered everything and even the most mediocre musicians could effortlessly invent melodies superior to almost anything heard since. Young, creative people with any sense of ambition tended to be drawn to these places like weight to gravity, but by the time I arrived the magic was receding.

The overwhelming explanation we held of our time and place was that we had been born too late to experience the one true orgasm of meaning, the 1960s. Young people who felt jilted by life because of a slight error in timing found solace in a twisted calculus of punk humour. An alternative to the Santa Cruz-type El Dorados of bohemia were the zones of brazen, barren reality: remote and violent desert towns, impoverished villages in Mexico, or tenements in New York City.

The most deficient places - condemned by hippies and punks alike - were the suburbs, the places of the conventional parent: an artificial world ruled by Disney and McDonald's.

I did not arrive at this suspect ontology naturally, having grown up in a way that was both gritty and bohemian. My father and I couldn't afford a home at one point, when I was 11, so we lived in tents on cheap land while building a crazed, geometric, spaceship-like house in a rough corner of southern New Mexico. I adapted to the flight from the suburbs because this seemed the ticket into the social world of my peers in that era. I well remember how my heart sank when I later realised that eco­nomic circumstances left me no choice but to force my old jalopy over the mountain pass that insulated dewy, arousing Santa Cruz from soul-killing, blandifying Silicon Valley, which was situated in, of all places, a suburb.

The mountain ridge that separates Silicon Valley and the town of Palo Alto from the ocean keeps out the famed fog of northern California in the summer. This has always made it an elite getaway from San Francisco, but to me Silicon Valley's light looked incomplete and made me feel remote and depressed - so close to the ocean, but without its full light.

I despaired at the time that I had failed to earn enough to be able to remain at the fulcrum of hippie truth, but I was to learn, slowly, that I was moving from one narcissistic category war to another. Instead of hippies v suburbs, I enlisted in the turf war between nerds and - well, the opposite doesn't have a name. A sort of muggle: the fool who doesn't realise that he lives in a cocoon and serves only as a battery to power the action; a person who fails to understand that the world is an information system, and that life is programming.

Having moved from one kind of nonsense to another eventually helped me learn to be sceptical of both.

Palo Alto was nicknamed "Shallow Alto" by the hippie hackers, who felt that living there was a sell-out, a sign of failure. And yet, one by one, we gave in and entered an alternate, infinitely better-funded elite club. The place was much more than a suburb, naturally. A little more than a century earlier, there had been a Native American culture there, but it was murdered and erased, so little more can be said. Layers of mutually indifferent histories were then overlaid on to this, awaiting the final washout by Silicon Valley culture.

A trace of the Spanish colonial period remained in the odd old adobe mansion; evidence of black immigration from earlier in the 20th century lay in the shocking, violent twin to Palo Alto, East Palo Alto; fruit orchards swept to the horizon in some directions and utilitarian grids of simple wooden buildings testified to the well-ordered conception of railroad towns and military bases.

But the hackers would take over. What a strange society nerds make. In 1996 Oliver Sacks published a book called The Island of the Colour-blind, about a place where so many people cannot see colour that it becomes the norm. In the same way, the society of computer nerds is nerdy not in comparison to a centre, but as a centre. Our nerdy world, which from an outsider's perspective might seem slightly askew, even tilted a touch into Asperger's syndrome, was and is our centre. The rest of the world seemed hysterical, irrational and confused by the surface aesthetics of things, somehow failing to grasp the numerical, causal, core truth underpinning events and the problem-solving purpose of reality.

I kept my concerns about the light of Palo Alto to myself and "passed", which was, happily, not hard for me. Certain kinds of math and programming come on strongest when you're young, and I could program the hell out of a computer in those days. Then and now, technical credibility is the ultimate membership card in Silicon Valley, and it is one of the reasons I still love the place. The billionaire company starters - and I won't name names because it's all of them - still get a little insecure and feel a need to preen when they're around top hackers.

The overlap between the late stages of hippie bohemia and the early incarnations of Silicon Valley was often endearing. There was a sense of justice in the way that males who had been at the bottom of the social ladder in high school were on track to run the world. Greasy cottages with futons on the floor, with dustings of pot and cookie crumbles rubbed into cheap oriental rugs, a carnage of forgotten dirty clothes in the corner, empty refrigerators and tangles of thick grey cables leading to the huge computer monitors and the hot metal cabinets where the silicon chips crunched. Asymmetrical, patchy beards, shirts part tucked, prescriptions for glasses powerful enough to find life on a distant planet. This was the new model of hippie nerd, supplanting the ascetic fellow with the pocket protector.

There were precious few girl nerds at the time. There was one who programmed a hit arcade game called Centipede for the first video game company, Atari, and a few others. There were, however, extraordinary female figures who served as the impresarios of social networking before there was an internet. It still seems wrong to name them, because it isn't clear if I would be talking about their private lives or their public contributions: I don't know how to draw a line.

These irresistible creatures would sometimes date alpha nerds, but mostly brought the act of socialising into a society where it probably would not have occurred otherwise. A handful of them had an extraordinary, often unpaid degree of influence over what research was done, which companies came to be, who worked at them and what products were developed.

That they are usually undescribed in histories of Silicon Valley is just another instance of what a fiction history can be. The advent of social networking software and oceans of digital memories of bits exchanged between people has only shifted the type of fiction we accept, not the degree of infidelity.

In retrospect, I cringe to think how naive and messianic the tech scene became amid all the post-1960s idealism. The two poles of San Francisco Bay Area 1960s culture - psychedelic hippies and leftist revolutionaries - became the poles of early computer culture.

In 1974, the philosopher Ted Nelson, the first person to propose and describe the programming of something like the web, published a large-format book composed of montages of nearly indecipherable small-print snippets flung in all directions, called Computer Lib/Dream Machines. If you turned the book one way, it was what Che Guevara would have been reading in the jungle if he had been a computer nerd. Flip it upside down, and you had a hippie-wow book with visions of crazy, far-out computation.

In fact, the very first description of the internet in any detail was probably E M Forster's The Machine Stops from 1909, decades before computers existed: "People never touched one another. The custom had become obsolete, owing to the Machine." It might still be the most accurate description. How Forster did it remains a mystery. Later, in the 1940s, the engineer Vannevar Bush wrote "As We May Think", an essay imagining a utilitarian experience with a computer and internet of the future. Bush's essay is often cited as a point of origin, and he even delved a little into how it might work, using such pre-digital components as microfilm.

But Ted Nelson was the first person, to my knowledge, to describe how you could implement new kinds of media in digital form, share them and collaborate. Ted was working so early - from 1960 onwards - that he couldn't invoke basic notions such as storing images, and not just text, because computer graphics had not been described yet. (The computer scientist Ivan Sutherland saw to that shortly.)

Ted was a talker, a character, a Kerouac. He was more writer than hacker, and didn't always fit into the nerd milieu. Thin, lanky, with a sharp chin and always a smile, he looked good. He came from Hollywood parents and was determined to be an outsider because, in the ethics of the times, only the outsiders were "where it's at". He succeeded tragically, in that he is not as well known as he ought to be, and it's a great shame he was not better able to influence digital architecture directly. He lives today on a houseboat in Sausalito, California, one of the other luminous, numinous nodes of Bay Area geo-mythology.

The hippest thing in the late 1970s and early 1980s was to form a commune, or even a cult. I remember one around the Haight-Ashbury neighbourhood of San Francisco which fashioned itself as the Free Print Shop. Members printed lovely posters for "movement" events in the spectral, inebriated, neo-Victorian visual style of the time. (How strange it was to hear someone recommended as "part of the movement". This honorary title meant nothing beyond aesthetic sympathy, but there was an infantile gravity to the word "movement", as though our conspiracies were consequential. They never were, except when computers were involved, in which case they were more consequential than almost any others in history.)

The Free Print Shop made money doing odd jobs, it included women and it enacted a formal process for members to request sex with one another through intermediaries. This was the sort of thing that seemed the way of the future and beckoned to computer nerds: an algorithm leading reliably to sex! I remember how reverently dignitaries from the Free Print Shop were welcomed at a meeting of the Homebrew Club at Stanford and other such venues where computer hobbyists shared their creations.

Ted had a band of followers or collaborators; it would have been uncool to specify what they were. They sometimes lived in a house here or there, or vagabonded about. They broke up and reconciled repeatedly, and were perpetually on the verge of presenting the ultimate software project, Xanadu, in some formulation that would have been remembered as the first implementation of the internet. Xanadu was a manifesto that never quite manifested.

If my tone has not been consistently reverent, please know that I am not cynical when it comes to my praise of Ted Nelson's ideas. As the first person on the scene, he benefited from an uncluttered view. Our huge collective task in finding the best future for the internet will probably turn out to be like finding our way back to where Ted was at the start.

In his conception, each person would be a free agent in a universal online market. Instead of separate stores of the kind run by Apple or Amazon, there would be one universal store, and everyone would be a first-class citizen, both buyer and seller. You wouldn't have to keep separate passwords or accounts for different online stores. That's a pain, and it guarantees that there can't be too many stores, thereby re-creating the kind of centralisation that shouldn't be inherited from physical reality.

This is an example of how thinking in terms of a network can strain intuition. It might seem as though having only one store would reduce diversity, yet it would increase it. When culture is privatised, as has happened recently online, you end up with a few giant players - the Googles and Amazons. It's better to put up with the rancour and pain of a single community, of some form of democracy, than to live in a world overseen by a few forces you hope will be benevolent. The stress of accommodation opens cracks from which brilliance emerges.

Ah, there it is - my idealism, still in your face after all these years. Silicon Valley remains idealistic, if sometimes narcissistic. We refer to uprisings in the Middle East as "Facebook revolutions" as if it's all about us. And yet, look. We code and scheme through the night, and then genuinely change the whole world within a few short years, over and over again. What other bunch of oddballs can say that?

Much has changed. Silicon Valley now belongs to the world. In a typical nerd cabal you will find recently arrived Indians, Chinese, Brits, Israelis and Russians. What is strangest in the recent waves of young arrivals in Silicon Valley is that they tend no longer to be downtrodden geniuses rejected in the playing of social status games, but sterling alpha males. Legions of perfect specimens seem to have grown up in manicured childhoods, nothing scrappy about them. When children started to be raised perfectly in the 1990s, chauffeured from one play date to the next, I wondered what world they would want as adults. Socialism? Facebook and similar designs seem to me continuations of the artificial order we gave children during the boom years.

Now we are entering a period of diminishing middle classes and economic dimming. What will Silicon make of this? Poorly conceived computer networks played central roles in many of our more recent troubles, particularly the 2008 financial crisis. Such tactics as high-frequency trading just pluck money out of the system using pure computation and without giving anything back.

Can we adjust the world, make it happier, merely by reprogramming computers? Perhaps. We continue to twiddle with human patterns from our weird suburb. Maybe, if we are able to echo the ancient idealism of those early days, we will do some good as the software grows.

Jaron Lanier is the author of "You Are Not a Gadget: a Manifesto" (Penguin, £9.99)

This article first appeared in the 15 August 2011 issue of the New Statesman, The coming anarchy

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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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