Lucas, George Walton, Jr.

▪ 2000

      From a long time ago in a galaxy far, far away came one of the most eagerly anticipated cultural events of 1999—the opening on May 19 of George Lucas's first project as film director in 22 years, the long-awaited prequel to the three episodes (numbered four, five, and six) of the Star Wars saga that had appeared from 1977 to 1983. Interest in Episode I—The Phantom Menace, which Lucas also wrote and executive produced, was so heightened, in fact, that when the two-minute trailer was shown in theatres the previous November, many people were willing to pay the full admission price to see it. Lines formed in front of toy stores in anticipation of shipments of tie-in merchandise in early May; fans camped out for days to purchase tickets for the first showing of the film; and many attendees arrived costumed as their favourite character. Although it failed to break the record for opening-weekend grosses, The Phantom Menace took only 13 days to top the $200 million mark. Some found the film disappointing, especially in view of all the hype, but many others were thrilled with it—even after multiple viewings—and were already tuning in to Internet rumours about the not-yet-written next episode, which Lucas was slating for release in 2002.

      Lucas was born on May 14, 1944, in Modesto, Calif. Although his main interest was cars—and racing them at top speeds (an interest he occasionally indulged in his films)—he also developed an interest in photography when he was a student at Modesto Junior College, and he went on to the film department of the University of Southern California, graduating in 1966 and attending graduate school for a semester in 1968. A short student film he made at USC, the stark, futuristic THX 1138: 4EB, also known as Electronic Labyrinth, won a number of awards and in 1971, having been expanded, was released as his first full-length feature, THX 1138, to mixed reviews. His following effort, however, American Graffiti (1973), shot in 28 days with a budget of only $780,000, was a smash hit and became one of the all-time top moneymakers. Even though it then became easier for Lucas to get financial backing from Twentieth Century-Fox for his next project, Star Wars, the studio's confidence was weak, so he lowered his directing fee in exchange for keeping the merchandising and sequel rights for himself. The film and its sequels—The Empire Strikes Back (1980), which Lucas executive produced, and Return of the Jedi (1983), which he co-wrote and executive produced—were huge successes, and by mid-1999 the three films had taken in about $2.2 billion, and sales of Star Wars merchandise had reached $4.5 billion. In 1981 Lucas—with Steven Spielberg—turned to the relatively recent past for the action adventure Raiders of the Lost Ark, with its dashing hero, archaeologist Indiana Jones. A tremendous success, it spawned Indiana Jones and the Temple of Doom (1984) and Indiana Jones and the Last Crusade (1989).

      Lucas's desire to maintain control over his projects and to pursue technological advances led him to form his own companies, including the special-effects company Industrial Light & Magic, the production company Lucasfilm Ltd., and the Skywalker Ranch studios. In 1999 his fortune was estimated at over $2 billion.

Barbara Whitney

* * *