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Living with diversity: for a politics of hope without fear

An open letter from the Forum of Concerned Citizens of Europe.

Rather like climate change, a quietly brewing concoction of xenophobia, intolerance and fear of difference is threatening the future of Europe. Aggressive political demagoguery drumming up hatred against minorities, immigrants and democracy itself is on the march again. Leading the charge are not only fundamentalist and xenophobic movements, but also, most worryingly, mainstream political forces trying to appease national majorities, looking for a quick fix to address public insecurities related to economic uncertainty, future stability and Europe's place in the world. And, alarmingly, they are proving to be successful. Many people in many European countries are coming to see the stranger and those deemed to be different as a contaminant or threat, much in the same way as Europe did in colonial times and during its dark totalitarian decades prior to 1945.

Fear, suspicion and hatred are becoming everyday public sentiments, legitimating vilification and harsh forms of discipline as normal, breeding on endless talk of greedy asylum seekers, disloyal and seditious immigrants, would-be Muslim terrorists, and an illusory desire to return to founding principles and chauvinistic values. A new lexicon of "us versus them" is being rolled out, blaming the victims of unfettered financial speculation, poverty, inequality, and authoritarianism at a global scale, and pretending to ignore how the contribution of immigrants and refugees has been, is and will remain essential to European social, economic and cultural life. A new mentality of 'catastrophe management' is being promoted, centred on the containment or elimination of the stranger and non-conformist through extensive surveillance, border controls, curtailment of rights, naming and shaming.

This is a dangerous turn, and as in the darkest moments of its history, Europe runs the risk of waking up too late. We are close to the point of no return from a Europe excessively obsessed with diversity and wrongly blaming difference for its problems. These are complex problems, linked to a variety of causes such as deep economic crisis and instability, the impacts of market society on individual and collective responsibility, the absence of a model of belonging appropriate for a plural and open society, the breakdown of comprehensive risk mitigation and social insurance systems, the intensification of a politics of surveillance, normalisation and punishment after 9/11, and nostalgia for a mythical Europe of cosy, homogeneous communities. These problems need to be acknowledged and alternative solutions need to be found; solutions that can harness diversity and difference as a way of facing the future. Otherwise Europe will find itself once again in an age of suspicion and intolerance, with even friends and neighbours becoming enemies as a politics of suspicion and anxiety tightens its grip.

The aim of this 'open letter', which is addressed to publics, opinion-makers and political actors in Europe who value the open and democratic society, is to formulate another way of approaching diversity and difference in Europe. There is considerable latent anxiety over the dark twists and turns we are witnessing in many European countries, but it has yet to stack up into an irreversible clamour for change. This letter might help in raising the tempo. But it is also important that the anxieties and fears on which intolerance and xenophobia feed are not dismissed as irrational, and those who hold them as abnormal, as we frequently find in current anti-racist and anti-fascist protest. The stance of this letter is to acknowledge the unsettlements associated with the profound changes Europe is witnessing, but to seek to dislocate them from their current associations with difference and 'strangers' variously cast and address them, instead, through a politics of solidarity, reciprocal learning and cooperation among all those who find themselves in Europe.

Such dispositions cannot develop in a vacuum. Accordingly this letter traces the outlines of another model of belonging and participation in Europe, one that argues for hope and courage in the face of uncertainty and risk, solidarity and learning as a resource for the future, diversity and cultural pluralism as the status quo, economic fairness, a shared commons at the centre of public policy, and democratic engagement and debate as the staple of political deliberation. In this sense, the letter is a call to European progressive political leaders and representatives, to transcend the short-sighted views and interests that so far have dominated the response both to the economic crisis and to the growing wave of xenophobia and general intolerance vis-à-vis social and cultural diversity.

We call on them to exercise their responsibility to promote and implement legislation and concrete policies consistent with universal human rights, both in Europe itself as well as in the relations and exchanges between Europe and the rest of the world, especially the impoverished societies. That is, legislation and policies geared on the one hand to build on the best European traditions in terms of hospitality, openness to difference, innovation and change, dialogue and democratic engagement, and on the other, in opposition to the colonial and imperial practices still in place, to establish a new set of rules, based on cooperation and reciprocity, in its relations with all those countries where life -human and other- most often is the cheapest commodity.

A Critical Moment for Europe

The enormity of the change sweeping through Europe needs to be recognised with clarity. A hard-won legacy of openness, inclusion and engagement towards the unfamiliar and unexpected is being threatened by a 'catastrophe' approach based on exclusion and the vilification of anything that apparently endangers the customary way of life. Both approaches to change are present in Europe, one looking to the future with courage, curiosity and a desire to evolve, and the other with fear, dread and an anxiety to preserve a privileged but unsustainable way of life.

The inclusive approach is rooted in the principle of provision for an expanding spectrum of social actors at home and abroad, typically through collective negotiation, social insurance, empowerment and education, social cohesion and inclusion, dialogue and democratic engagement. It brings the outside and the foreign into the inside. Europe's long Humanist legacy, aspects of the post-war European social model, and late-20th century recognition of gender, racial, sexual and post-colonial equality by the EU and many member states can be seen as heirs of this tradition.

The catastrophe approach is rooted in the principle of mitigation against hazard and risk through elaborate military-like preparations including disaster planning, warnings of Armageddon, predatory surveillance, restriction of civil liberties, and the violent oppression of dissent, difference and the foreign. The outside must be kept at bay, the enemy must be named, the primitive must be tamed, and tough measures must be taken in the name of social and cultural preservation, collective security and well-being.

This is how Europe justified the exploits of Empire and colony, its differences with the Orient and Islam, its division of the world into superior and inferior races and peoples conveniently colour coded, the brutal suppression of Jews and Roma, and the brutal suppression of dissidents, non-conformists, workers and peasants by different totalitarian regimes. This is how contemporary 'emergency' measures after 9/11, bent on targeting would-be terrorists, unfit citizens and social outcasts through loose proxies such as physical appearance, religious belief, cultural practices, race and ethnicity, social and economic status, can be linked to a dark European legacy based on the demonization of particular types of vulnerable bodies. And this is how the politics of fear is used to curtail not only civic and political rights for the whole society, but also to dismantle the hard-won conquests of the oppressed and exploited in terms of labour conditions and welfare services.

It is not long before this politics of fear and hate, having exhausted the list of easily identifiable scapegoats, will create new divisions in order to sustain itself. It is not long before a biopolitics of fear and resentment that tries to shut out an irreducibly plural and porous world will incapacitate Europe, as the means to engage, to look ahead, to cultivate an ethic of care, empathy and curiosity are lost.

Facing the Future Together

Europe is home today to millions of people from non-European backgrounds, many religious and cultural dispositions, networks of affiliation that stretch right across the globe. It is as much a site of longings rooted in myths of origin and tradition - regional, national and continental - as it is a site of cosmopolitan identities and attachments, a place of plural and hybrid composition, drawing on varied geographies of cultural formation. In such a Europe it makes no sense to close the borders, to play the game of good insiders and bad outsiders, to defend ethnic and cultural purity, to demonise everything alien, to declare the end of secularism. It also makes no sense to valorise an image of European history which is centred upon cultural homogeneity and nationalised 'purity'. Engagements with difference have marked Europe from its earliest days and such engagements are equally unavoidable in the European present and in any image of its shared future.

There is no denying that these are turbulent times, riddled with large and often unforeseen risks and hazards thrown up by the entanglements of an unregulated and interdependent world. Those risks, however, have much more to do with the uncontrolled movements of speculative financial capital and global economic integration than with the over-controlled displacements of migrants and refugees trying to reach a destination to work and live with dignity, the vast majority of whom are moving within their countries of origin and within the south of the planet. Governance has become an art of trial and error, making the best of an imperfect and fully unknowable world. Risks quickly multiply, mutate, cross borders, and this no doubt worries governments and publics seeking certitude and a secure future. But uncertainty, escalation and imprecision - all requiring the need to act in new ways - should neither be read as unavoidable catastrophes, nor, most importantly, as problems that can be resolved through a politics of retrenchment, generalised fear and militarisation; a politics of harming some bodies for the safety of others. They also represent new opportunities, new prospects on a future in the making.

Europe has to find a way of tackling hazard, risk and uncertainty by harnessing rather than rejecting diversity and difference; by inventing new solidarities rather than craving for an uncontaminated future; by cultivating an ethos of hope, shared ground and common purpose rather than one of hate and division; by accepting that acting in an uncertain world requires the wit, imagination and effort of all stakeholders rather than the designs and impositions of so-called experts and tough leaders; by realising that the negotiation of complexity and interdependence - the world as it has become - requires an attitude of pragmatic experimentalism, continuous learning and negotiation, rather than a stance of heroic certitude and unbending projection.

A start on this difficult but necessary journey to rethink how best to live in a plural and uncertain world is to jettison a culture of emergency management through obsessive surveillance and control. What is needed, instead, is to clarify why democracy, inclusion, empowerment, fairness and social justice for the many and not only the few - in Europe and beyond - is a precondition for dealing positively with uncertainty and change. New work is required to show with conviction and evidence that gender, class, racial and sexual equality are a good thing, that access for all to the means of well-being in a society releases new capabilities and reduces envy and resentment, that full-blown democracy involving universal rights, representation, popular participation and public scrutiny spreads responsibility and checks power abuses, that investing in the collective infrastructure shared by all and in future sustainability reduces fear and anxiety along with underpinning a sense of the shared turf, that widespread economic opportunity, parity and security can reduce conflict and disaffection.

These cannot remain empty phrases, but must form part of a new and passionately felt politics of social inclusion and justice that is not just whispered from the sidelines, but can demonstrate that there are significant gains to be made by majorities and minorities, citizens and residents, and above all, society as a whole. This is not an argument for a simple return to the welfare state. Times have changed, and past effort was not without its problems. Only too frequently, states and elites rolled out giant programmes in the name of equality that fell far short, while majorities continued to discriminate against minorities, outsiders, and the vulnerable under the guise of universalism and collectivism.

Towards a Politics of the Commons

The challenge of bridging similarity and difference, the particular and the common, the familiar and the strange thus remains an unresolved challenge, as does the need to show how such bridging is the road to peace, progress and understanding in a turbulent world. These are difficult issues that need to be addressed through collective debate over the concerns at stake, through public ownership of and conviction in the justice of the proposals put forward. Otherwise the proposals - no matter how sophisticated or persuasive - will be rejected as impositions.

A start can be made, however, by indicating the kind of ethos that is needed to face the future through diversity and difference. First, it must be an ethos of hope not fear, trust not suspicion, reciprocity not domination, dialogue not condemnation, and negotiation not aggression. Secondly, it must be an ethos of finding vision in the dark through many eyes and torches held by many hands, united by belief in the benefits that come from unity and solidarity, but also by the knowledge that the way can never be fully illuminated, is full of pit holes and dangers to be negotiated through common concerns. Thirdly, therefore, it must be an ethos of pragmatic learning, trial and error, but clear about the principles of the open society and the Charter of Human Rights that cannot be violated. This includes pressing for the complete dismantlement of the catastrophe mentality and its infrastructure. These three dimensions of an ethos of shared concern, mutual engagement and pragmatic learning should be the basis on which a sense of 'the European' should emerge.

The problems of race, ethnicity and culture that have come so much to centre stage in the politics of catastrophe management need to be put back in place by making space for a wider frame of collective reference and shared ambition, itself understood to require the effort of all members of a society. An ethic of care for the commons has to lie at the centre of an inclusive and non-fearful politics of preparedness for the future,
harnessing difference and pluralism for common benefit, proposing shared injuries, concerns and injustices as political demands, rather than divisive accusations.

Pragmatically, this means pressing for particular keywords such as hospitality, fairness, solidarity and mutuality as the prime colours of the open society; debated in the public arena, used as the measure of things by people and institutions. It also means publicising something that Europe has excelled in historically, which is the tradition of nurturing public space and public infrastructures open to and shared by all. The achievements of public libraries, squares and parks, public education, health and transport services and facilities cannot be underestimated, especially when these spaces are used and appreciated by all. They are the formative ground of citizenship and a respect for shared resources.

Then, it means advocacy for a vibrant public sphere, a variety of modes of collective communication, an instinct of taking things of social interest into the public arena. So, instead of burying latent concerns or new policies being introduced by stealth, challenges, threats and risks are here named, debated and subjected to democratic scrutiny. It means seeking unity in difference through a politics of shared concerns, common problems made visible (such as housing and well-being, employment, security, urban services, the quality of the environment, future sustainability, and so on), so that the concerns that face us all can become the basis for collective understanding and solidarity.

Finally, it means organising to protect the commons. Much is said today about the need to protect the environment against pollution and consumption. Our children may have little air to breathe in times to come if we continue to disregard nature. But there is more of the commons to protect, raising once again old questions of ownership and stewardship that will not go away. Banking reforms, redistributive justice, corporate social responsibility, public ownership and control, the democratic accountability of public communications, work for all, fair wages, universal insurance, building capability, regulatory reform, the social economy, and other aspects of the economy organised for meeting needs and spreading rewards, are all part and parcel of a much needed new politics of diversity. It is through such reforms that future growth can be directed to the many and not only the few, and for outcomes that address envy and enmity. Europe's political classes seem to have forgotten this link, made so clear after the war in the effort made by states and progressive movements to repair the economy and the commons as the way forward for both prosperity and solidarity.

This letter is a call to intervene, to revive an old tradition in Europe to question, to dissent. It proposes that living with difference in Europe should be seen as an opportunity to face the future together, in mutual respect.

Forum of Concerned Citizens of Europe

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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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