Webb essay winner: Goodbye to all that

The workhouse is gone, but child poverty demands attention.

Over one hundred years ago Beatrice Webb headed the group that published the Minority Report. Webb claimed that the purpose of the report was 'to secure a national minimum of civilised life open to all alike, of both sexes and all classes', by which she meant 'sufficient nourishment and training when young, a living wage when able-bodied, treatment when sick, and modest but secure livelihood when disabled or aged' . The report represented one of the first attempts to determine and tackle the root causes of poverty. Unfortunately Webb's innovative claims went widely ignored at the time of their publication. The majority consensus remained that poverty was due to a weakness of individual character. Webb was a strong believer in the claim that poverty is a result of systemic factors. She believed that if the systemic factors were addressed then poverty could be ended. Time has allowed for major reforms and today Webb's ideas raise some important questions about what constitutes poverty and how it can be measured within the UK.

Modern day measures of poverty tend to focus on the number of people who earn below 60% of the median income. Income is important and should be considered when addressing poverty, however the individual causes and components of poverty deserve a greater appreciation. As a starting point it is worth using the most popular living standards index that exists today. The Human Development Index (HDI) is very well-known mainly due to its simplicity. It exemplifies how any good index should be easy to understand if it is going to be practical. The HDI has many qualities which suggest that Webb would have used it as a poverty index. The use of literacy rates and gross enrolment ratios are good indicators of 'training when young'. Life expectancy from birth is an all-encompassing indicator as it says something about whether there is 'sufficient nourishment', 'treatment when sick' and a 'modest ... livelihood' being provided within a society. Additionally the income index within the HDI acts as an indicator for the 'living wage when able bodied'.

However one problem with the HDI is that it does not take into account the inequalities that may exist within a seemingly well-functioning society. This means that the HDI does a bad job of addressing Webb's point of any national minimum being 'open to all alike, of both sexes and all classes'. A promising alternative is a disaggregated index. A widely cited example of a disaggregated index is the Gender-related Development Index (GDI). However Webb described her beliefs about wages with the phrase, 'Equal Pay for work of Equal Value in Quantity and Quality'. She stated that her main concern was for the 'national minimum' to be open to men and women alike, rather than men and women necessarily earning the same . However Webb did recognise that the phrase 'Equal Pay for Equal Work' had been used in her time to unfairly prohibit women.

If Webb were alive today she would more likely have preferred a disaggregated HDI that calculates different indexes for different income groups in society . Income inequality is arguably the bigger factor affecting UK poverty today as a citizen's disposable income is what has a greater effect on their ability to take part in social activities and buy necessities for daily life. The disaggregated HDI for the lowest quintile income group would therefore be a good poverty index keeping Webb's beliefs at heart. This type of HDI would identify whether a 'national minimum of civilised life' is being achieved in the UK.

On the other hand there is the question as to whether the equal weighting given to life expectancy and GDP per capita by the HDI is reflective of Webb's views. As life expectancy is such an all-encompassing factor it is only fair that it has greater weight placed on it. Not only that but GDP per capita is also the indicator that most suffers from using a disaggregated HDI. This is because GDP growth is simply an increase in output by a nation. If a nation increases its output in weaponry then this will do little to help the living standards of the poorest fifth of the UK . More specific to Webb is the fact that GDP per capita doesn't say anything about the income for the unemployed, the sick and the elderly. Therefore a better indicator is required.

The indicator that should replace GDP per capita should be one that is more appropriate to poverty. Considering Webb's initial desire for the more helpless members of society to be given support she would probably feel heartened by the claim that she needn't worry about the livelihood of the aged. Recent data suggests that this claim is accurate, going so far as to say that it is less likely for pensioners to live in low-income households than non-pensioners . This is of course something that should be monitored regularly to ensure its validity, but at the moment a UK poverty index doesn't have to make as many allowances for the income of elderly citizens. This conclusion may actually be considered an example of Webb's triumph in impacting modern policy as her consideration for the elderly helped to signal the foundations of pension schemes today.

The outlook is not as bright for the ill and the unemployed though; the original victims of the workhouse. In fact long-term unemployment and illness go hand in hand in some parts of the UK. Statistics have suggested that approximately three quarters of working age people who have been receiving out-of-work benefits for two years or more are either sick or disabled . One of the problems with long-term unemployment as a result of a sickness or disability is that it may lead to a vicious circle whereby the person is never able to fully recover due to their time spent away from professional or social activity. Unemployment in itself is not totally deplorable though. In fact short-term unemployment may actually be viewed as an opportunity for people to find better jobs for themselves. For people in this position there is a Job Seekers Allowance ensuring them a 'living wage' at all times.

However it is long-term unemployment that can contribute to poverty and lower living standards. To some extent even Webb appreciated the Majority's sentiment towards poverty when she advocated 'detention colonies...for able-bodied people who refused either work or training' . This suggests that Webb's desire was for sickly or disabled citizens to be preparing themselves for after treatment when they would be able to get back into work. The onset of citizens defrauding benefit services in modern times makes this an issue that needs addressing.

Therefore the indicator replacing GDP per capita is the percentage by which long-term benefit recipients' increases or decreases over the period of one year. To create an indicator for long-term benefit recipients there should be maximum values of increase and decrease specified which can be used appropriately to create a new component of the poverty index. Similar to the way one creates an index with GDP per capita data to compile the HDI. The only difference is that an increase in the number of long-term benefits recipients pushes the index down whereas an increase in GDP per capita pushes the HDI up.

Webb's use of the phrase 'living-wage' is also important here and is embedded within the motivation to reduce long term benefits recipients. The minimum wage exists in order to mark a level of subsistence that is sufficient for all citizens. This means that getting people working means getting people earning, at the very least, the 'living-wage'.

On the other hand Webb specified the importance of treatment for those who are sick. The current index appears to have more of a focus on ensuring people are working rather than actually improving in health. Fortunately this issue is implicitly dealt with in two ways. The first way is through the fact that the UK has a universal healthcare system which means that treatment is accessible for all regardless of income. The second is the realisation that the long-term benefits recipients' indicator indirectly takes into account the quality of healthcare provision in the UK. If the healthcare system was to deteriorate and patient waiting lists grew longer, rendering more citizens incapable of working, then this would contribute to an increase in the number of long-term benefits recipients.

The final, and possibly most important, issue that the index should address is 'sufficient nourishment ... when young'. The UK has seen a vast increase in the level of child poverty over the years and it is suggested that almost a third of all children in the UK are living in poverty . This means that the UK has a proportionally greater number of children in poverty than many other developed countries. The issue is serious enough to be given an individual indicator within any UK poverty index.

However there is a difficulty that arises in indexing child poverty. One might choose to use an indicator that focuses on the number of children in child poverty, or alternatively one could use an indicator that measures a major cause of child poverty. The latter type of indicator seems more appropriate when one considers Webb's tactic of approaching poverty by looking at structural causes.

The difficulty then arises in determining what causes are sufficiently worthy of being measured. There are numerous causes of child poverty within the UK. The main causes are often the same as the causes of most types of poverty; low income possibly caused by unemployment, lack of institutional support and social division. However there are also causes that are unique to child poverty such as higher divorce rates and greater numbers of teen pregnancies. The proposed index already considers long term unemployment and education levels within the UK which goes some way in raising public awareness about some of the main causes of child poverty.

However the final indicator will focus on causes specific to child poverty. To identify these causes within the realm of Webb's thinking the key word that needs to be recognised is 'nourishment'. Nourishment can refer to physical or emotional factors and when taken in a modern day context it refers to a good standard of living for the young. The indicator will therefore focus on factors that inhibit nourishment. The first factor to be included in the child poverty indicator is the number of underage pregnancies that result in actual births. It is being used because, naturally, young mothers find it extremely difficult to nourish their children in the same way as an older, more settled woman would.

The second factor used is the concentration of poor children in the UK. It is sometimes the case that poverty breeds more poverty. In an area with highly concentrated child poverty the poor children only see other poor children; effectively depriving them of social nourishment. Currently half of the children in the UK who are eligible for free school meals are concentrated in a fifth of the schools . The proposed way of indexing this is by using a technique very similar to the one used when calculating the Gini coefficient. A line of absolute equality is formed which is based on all schools having an even proportion of children on free school meals and then the actual data is plotted. The ratio of the areas between these lines can then be used to create a concentration coefficient.

The third and final factor is the number of lone parents within the UK. Recent data suggests that 46% of children in lone parent households are living in poverty whereas within two-parent families the figure is 22% . The number of lone parents and the number of underage pregnancies that result in actual births would both be indexed in similar ways. The percentage increase or decrease each year is expressed as a fraction of some maximum; similar to the way in which the long-term benefit recipients' indicator is indexed.

These four components can be used in an effective way to increase awareness of poverty. The first component is education and looks at gross enrolment ratios and literacy rates. The second component is living standards and uses the indicator of life expectancy. The third component is unemployment and is considered by the number of long-term benefits recipients. The fourth component is child poverty and uses the number of underage pregnancies that result in birth, the number of lone parents in the UK and the concentration of poor children. The four components are all weighted equally. The three indicators for child poverty are also weighted equally within their respective component.

Additionally the components of education and living standards are disaggregated and only focus on the poorest fifth of the UK; stemming from Webb's intention for a national minimum. After all if the index suggests that the UK's poorest citizens are living longer and learning more then the level of prosperity for the whole UK is either at the level suggested by the index or, more likely, even higher. The remaining components of the index are not disaggregated as they are not as directly affected by income.

The issue of poverty can be promoted by this index in the same way as the HDI. The minimum value possible is 0 and the maximum is 1. If the number given by the index increases one year then poverty, as defined by the components that make up the index, has decreased. Politicians hoping to increase the index number could only do so by increasing how long we live for, getting people back into work, improving access to education or tackling the causes of child poverty.

To conclude, this poverty index is designed with Beatrice Webb's initial vision. However it also recognises that she worked at a time when poverty in the UK was of an absolute nature. Her insight into the UK system with the Minority Report helped to recognise that the poverty people were experiencing was structural and it was up to the state to change it. She helped create the ideas that were behind the welfare state and the universal healthcare system. In doing this she achieved the structural change she had intended and it is because of her efforts that the index suggested in this essay is so particular to the UK. Not many countries can boast being a welfare state, having universal healthcare and a minimum wage. If Webb were alive today to compile her own poverty index for the UK she would probably smile at how UK citizens can keep out of the workhouse and not worry about the Poor Laws, that is, before turning her attention to the problems of child poverty and social cohesion.

This article first appeared in the 02 January 2012 issue of the New Statesman, And you thought 2011 was bad ...

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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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