An extract on #bilinmeyenler
After Warner Bros. abandoned Lucas's early version of Apocalypse Now (1979) (during the post-production of THX 1138), the filmmaker decided to continue developing Another Quiet Night in Modesto, eventually changing its title to American Graffiti. To co-write a fifteen-page film treatment, Lucas hired Willard Huyck and Gloria Katz, who also added semi-autobiographical material to the story. Lucas and producer Gary Kurtz began pitching the American Graffiti treatment to various Hollywood studios and production companies in an attempt to secure the financing needed to expand it into a screenplay, but they were unsuccessful. The potential financiers were concerned that music licensing costs would cause the film to go way over budget. Along with Easy Rider (1969), American Graffiti was one of the first films to eschew a traditional film score and successfully rely instead on synchronizing a series of popular hit songs with individual scenes.
THX 1138 was released in March 1971 and Lucas was offered opportunities to direct Lady Ice (1973), Tommy (1975) or Hair (1979). He turned down those offers, determined to pursue his own projects despite his urgent desire to find another film to direct. During this time, Lucas conceived the idea for a space opera (as yet untitled) which later became the basis for his Star Wars franchise. At the May 1971 Cannes Film Festival, THX was chosen for the Directors' Fortnight competition. There, Lucas met David Picker, then president of United Artists, who was intrigued by American Graffiti and Lucas's space opera. Picker decided to give Lucas $10,000 to develop Graffiti as a screenplay.
Lucas planned to spend another five weeks in Europe, and hoped that Huyck and Katz would agree to finish the screenplay by the time he returned, but they were about to start on their own film, Messiah of Evil (1972), so Lucas hired Richard Walter, a colleague from the USC School of Cinematic Arts for the job. Walter was flattered, but initially tried to sell Lucas on a different screenplay called Barry and the Persuasions, a story of East Coast teenagers in the late 1950s. Lucas held firmhis was a story about West Coast teenagers in the early 1960s. Walter was paid the $10,000, and he began to expand the Lucas/Huyck/Katz treatment into a screenplay.
Lucas was dismayed when he returned to America in June 1971 and read Walter's script, which was written in the style and tone of an exploitation film, similar to 1967's Hot Rods to Hell. "It was overtly sexual and very fantasy-like, with playing chicken and things that kids didn't really do," Lucas explained. "I wanted something that was more like the way I grew up." Walter's script also had Steve and Laurie going to Nevada to get married without their parents' permission. Walter rewrote the screenplay, but Lucas nevertheless fired him due to their creative differences.
After paying Walter, Lucas had exhausted his development fund from United Artists. He began writing a script, completing his first draft in just three weeks. Drawing upon his large collection of vintage records, Lucas wrote each scene with a particular song in mind as its musical backdrop. The cost of licensing the 75 songs Lucas wanted was one factor in United Artists' ultimate decision to reject the script; the studio also felt it was too experimental"a musical montage with no characters". United Artists also passed on Star Wars, which Lucas shelved for the time being.