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The new ruling class

If the polls are to be believed, the Conservative Party is heading for government in 2010, ending 13 years in the political wilderness. So who are the men, and women (yes, there are one or two), jostling for power around Prime Minister Cameron?

David Cameron, 43

Leader of the Conservative Party
Education Eton College. Oxford University
Wealth £3.2m*
Expected to inherit million-pound legacies from both sides of his family, David Cameron comes from a long line of stockbrokers. A direct descendant of King William IV, he is the fifth cousin twice removed of Queen Elizabeth II, and reportedly got his first job in the Conservative Research Department after one of the Queen's equerries intervened on his behalf. A former member of Oxford's notorious Bullingdon Club, Cameron - who said that the large expenses claimed on his constituency home were an "inadvertent mistake" - was described by Norman Lamont as a "brilliant Old Etonian with a taste for the good life".

* This and other wealth figures are estimates

George Osborne, 38
Shadow chancellor
Education St Paul's School, London. Oxford University
Wealth £4.3m
George Gideon Osborne stands to inherit the Osborne baronetcy of Ballentaylor in County Tipperary, Ireland, as well as a substantial share of Osborne & Little, his father's luxury wall­paper company. Not that he needs the money - he already benefits from a company trust fund, and as a backbencher commanded fees of up to £5,000 per article for the Spectator and Associated Newspapers. A former member of the Bullingdon Club, he is very much part of the old boy network, as shown by last year's scandal involving Osborne, his old friend Nat Rothschild, Russian oligarch Oleg Deripaska and a yacht in Corfu.

Oliver Letwin, 53
Chairman of the Conservative Party's Policy Review/Research Department
Education Eton College. Cambridge University
Wealth £1.5m
Despite earning £145 an hour for consultancy work at N M Rothschild & Son, Oliver Letwin claimed £2,000 in parliamentary expenses to replace a leaking pipe in his tennis court. He once said he would rather "go out in the streets and beg" than send his children to a London comprehensive, and during the 2001 election argued that the Conservatives should cut future public spending by £20bn a year relative to Labour proposals. His suggestion was so unpopular that he was forced to stay out of the public eye for the duration of the campaign.

Andrew Lansley, 53
Shadow health secretary
Education Brentwood School, Essex. Exeter University
Wealth £700,000
Andrew Lansley, who earns an extra £29,000 a year for 12 days' work at a marketing agency, spent more than £4,000 of taxpayers' money renovating his country home months before he sold it and flipped his expenses claim to his London flat, where he spent thousands more. Last year, Lansley caused outrage with a blog entry on the Conservative Party website arguing that a recession could be "good for us", as people could "spend time at home with their families". The potential future health secretary also has some insight into obesity, saying that "people who see more fat people around them may themselves be more likely to gain weight".

David Willetts, 53
Shadow universities and skills manager
Education King Edward VI, Birmingham. Oxford University
Wealth £1.9m
David Willetts makes £80,000 a year from 40 days' work as adviser to Punter Southall, and is also paid as chairman of Universal Sensors Ltd, but he still tried to claim £750 for a shed base and £175 for a dog pen on expenses last year.

Francis Maude, 56
Shadow minister for the Cabinet Office/ chancellor of the Duchy of Lancaster
Education Abingdon School, Oxfordshire. Cambridge University
Wealth £3m
Francis Maude, a former director of Morgan Stanley, juggles an array of non-executive financial positions. These bring him £68,600 a year, but luckily don't require too many hours - Barclays pays him £36,700 for six days' work. Maude, who has railed against the irresponsibility of mortgage lenders, banked £100,000-plus as director of a financial services group that profited from sub-prime mortgages. Despite owning four properties, he claimed almost £35,000 in two years for interest payments on a London flat just yards from his house.

Michael Gove, 42
Shadow schools secretary
Education Robert Gordon's College, Aberdeen. Oxford University
Wealth £1m
A self-proclaimed neoconservative and former journalist, Michael Gove still writes a weekly column for the Times, which pays him £5,000 a month. Gove has boasted that it takes him an hour a week to write it. This makes his hourly wage more than £1,100 - 127 times higher than the average salary in his constituency, Surrey Heath. He tops this up through contributions to other titles, including Scotland on Sunday and Building Magazine. Gove is a signatory to the Henry Jackson Society, a "project for democratic geopolitics" that advocates a proactive approach to spreading democracy, by military intervention if necessary. Last year, he described the invasion of Iraq as "a proper British foreign policy success".

Liam Fox, 48
Shadow defence secretary
Education St Bride's High School, East Kilbride. Glasgow University
Wealth £1m
Fox, a former GP, may lambast the public sector for its inefficiencies and "bloated administration", but he is not so thrifty himself. Despite earning £25,000 a year by lecturing for the medical educational firm Arrest Ltd (14 days' work), he claimed almost £19,000 of taxpayers' money for his mobile phone bill. A staunch Eurosceptic and strong believer in the "special relationship" with America, Fox said recently a Conservative government would be "sympathetic" to a request for thousands more troops in Afghanistan.

Andrew Mitchell, 53
Shadow international development secretary
Education Rugby School. Cambridge University
Wealth £2m
Mitchell, an ex-merchant banker racks up £43,500 every year for financial advisory and consultancy roles that involve a few hours' work each week, as well as owning shares worth up to £180,000. But it's obviously not enough - last year he claimed more than £21,000 for cleaning and redecorating his constituency home. In 2004 he asked the Commons Fees Office to pay him £2,000 a month from his MPs' additional cost allowance "until it is exhausted". Mitchell said last year that the recession was an "incredibly good moment" for the party.

Caroline Spelman, 51
Shadow communities and local government secretary
Education Herts and Essex Grammar School, Bishop's Stortford, Essex. University of London
Wealth £1.5m
Caroline Spelman co-owns Spelman, Cormack & Associates, a food and biotechnology business, with her husband. They also own three properties, including a four-storey Georgian townhouse in London, with an estimated combined value of £5m. In 1997-98, she misused the parliamentary staffing allowance to pay her nanny. The expenses revelations this year showed that she received £40,000 for bills and cleaning for her constituency home, despite her husband claiming it was their main home. In 2005, she attacked proposals on revaluing council tax. Ironically enough, for the 2007-2008 financial year she overclaimed hundreds of pounds on her own council tax.

Lord Strathclyde, 49
Leader of the opposition in the Lords
Education Wellington College. University of East Anglia
Wealth £10m
The majority shareholder in the family estate management company Auchendrane Estates, worth roughly £6m, Lord Strathclyde holds down a plethora of paid directorships for hedge funds and investment companies. One of them is Galena, the investment management arm of Trafigura, a controversial oil trader recently found to be dumping toxic waste in Africa. He said that Trafigura's other activities fell "well outside the terms of my remit".

William Hague, 48
Shadow foreign secretary
Education Wath-on-Dearne Comprehensive School, Rotherham. Oxford University
Wealth £2.2m
Earning up to £10,000 for an appearance, Hague is a stalwart of the Conservative after-dinner speaking circuit. As a non-executive director of JCB, he was paid £50,000 a year and went on to a directorship at AES Engineering, receiving £25,000 a year. He has been paid up to £1,041 an hour for his consultancy work, a wage rate 113 times higher than the average among his constituents in Richmond, Yorkshire. Hague reportedly threatened to walk out when Cameron suggested forcing the shadow cabinet to give up second jobs.

Chris Grayling, 47
Shadow home secretary
Education Royal Grammar School, High Wycombe, Buckinghamshire. Cambridge University
Wealth £500,000
Chris Grayling, worth only half a million, is a real man of the people. The proprietor of four London homes, he still billed a £40,000 second-home refurbishment to the state. So in touch is the former BBC producer with the reality of life in Britain, that he compared the country's streets to those of Baltimore on the US television drama The Wire, and came up with the idea of deterring young criminals by taking away their mobile phones.

Lord Ashcroft, 62
Conservative Party deputy chairman
Education Royal Grammar School, High Wycombe, Buckinghamshire. Mid-Essex Technical College
Wealth £1.1bn
Lord Ashcroft, the Tories' fairy godmother, has donated millions to the Conservative Party since the 1980s, personally guaranteeing its overdraft when it was reportedly £3m in the red. He makes a habit of political donation, and has been accused of wielding undue political influence in Belize, where he has extensive business interests. He does not say whether he pays tax in the UK, and the Electoral Commission is investigating whether his company fits strict rules on overseas donations.

Dominic Grieve, 53
Shadow justice secretary and shadow attorney general
Education Westminster School, London. Oxford University
Wealth £3.1m
A barrister and QC, Dominic Grieve supplements his income with shareholdings in 13 firms, most notably with £240,000 worth of shares in companies operating in Zimbabwe. Apparently £3.1m doesn't go very far towards keeping a second home - Grieve was forced to bill the government £18,668 in maintenance costs last year. A traditionalist who has voted against bills promoting gay rights, he has praised the Victorian era for its "sense of moral values".

Philip Hammond, 53
Shadow chief secretary to the Treasury
Education Shenfield School, Brentwood, Essex. Oxford University
Wealth £9m
Hammond enjoys a lucrative directorship at Castlemead Property, in which he has shares worth £4.9m, but that didn't stop him claiming £23,075 - £8 short of the maximum - for his second home in London. He now promises to oversee swingeing cuts in public spending in an emergency post-election budget. He has said it is "absolutely not the case" that public-sector workers are dreading cuts, feeling instead a "sense of liberation".

Owen Paterson, 54
Shadow Northern Ireland secretary
Education Radley College. Cambridge University
Wealth £1.5m
Paterson, married to the 4th Viscount Ridley's daughter, owns a large country estate in his North Shropshire constituency (he voted strongly against the hunting ban). He is a member of the Cornerstone Group, which published a report describing the NHS as "Stalinist" and calling for it to be replaced.

Jeremy Hunt, 42
Shadow culture, media and sport secretary
Education Charterhouse School. Oxford University
Wealth £4.1m
Hunt is paid £1,000 a month for two hours of business advice to Hotcourses Ltd, an educational guide publisher, and enjoyed a £245,181 dividend payment from the company in 2006. He still felt hard-pressed enough to submit an invoice for 1p for a 12- second mobile phone call.

Gregory Barker, 43
Shadow minister for energy and
climate change
Education Steyning Grammar School, West Sussex. Royal Holloway, University of London
Wealth £3.9m
Gregory Barker, a former adviser to the Russian billionaire and Chelsea FC owner Roman Abramovich, reportedly made millions when he sold his stake in a recruitment advertising firm, and continues to rake in cash as director of Flare View, a property investment company, and as an adviser for Pegasus Capital Advisors. He made a £320,000 profit in just over two years by using the second-home allowance
to buy and sell a house in the exclusive borough of Chelsea, in central London.

Philip Dunne, 51
Conservative whip/deputy chairman
Education Eton College. Oxford University
Wealth £5m
Dunne, a super-rich backbencher has had a 20-year career spanning investment banks in London, New York and Hong Kong, as well as Ottakar's bookshop, which he co-founded. The son of Sir Thomas Dunne, the Lord Lieutenant of Hertfordshire, he has done all this while looking after the family farming estate.

Brooks Newmark, 51
Conservative whip
Education Bedford School, Bedfordshire. Harvard University. Oxford University
Wealth £3.2m
Yet another Conservative MP with a high-flying background in the world of finance, Brooks Newmark held a senior role at Lehman Brothers, and spent eight years at a British merchant bank. He now owns the investment firm Telesis Management and has shares in two other investment firms, from which he gets undisclosed payments.

Zac Goldsmith, 34
Conservative parliamentary candidate
Education Eton College (expelled). Cambridge Centre for Sixth-Form Studies
Wealth £300m
Son of Sir James Goldsmith and his third wife, Lady Annabel Vane-Tempest-Stewart, Frank Zacharias Robin Goldsmith is an environmentalist and socialite. An odd combination, perhaps, but both grandfathers were Conservative MPs, so he is walking a well-trodden path.

Michael Spencer, 53
Conservative Party treasurer
Education Worth Abbey, West Sussex. Oxford University
Wealth £250m
A close friend of Cameron's, Spencer owns a 21 per cent stake worth £474m in the money broker Icap, which he set up in 1986. He was caught up in controversy last year when it emerged he had pledged his stake in the investment bank Numis as security for a loan, a legal grey area. When he did sell his shares, he made only £16m - a third of what he would have gained in 2006 when shares were at their peak. It's a hard life.

Research by Samira Shackle, Stephanie Hegarty and George Eaton

This article first appeared in the 05 October 2009 issue of the New Statesman, The tories/the people

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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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