British Defeat Turks at Shaiba

The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 178th installment in the series.

April 14, 1915: British Defeat Turks at Shaiba 

The Mesopotamian theater assumed an outsized role in British strategy because of its proximity to Persia, which allowed the Turks to threaten the oil supply for Britain’s Royal Navy.  To protect the crucial pipeline from attacks by the Turks and their tribal allies, the British government of India mounted an invasion of Mesopotamia using British and Indian troops beginning November 6, 1914, followed by the capture of the southern port of Basra on November 21 and the strategic town of Qurna, where the Tigris and Euphrates Rivers flow together, on December 19. 

As the Anglo-Indians began consolidating their position in southern Mesopotamia, on April 12-14, 1915 the Turks mounted a counterattack at the Battle of Shaiba, where around 4,000 Turks and 14,000 Arab tribesmen attacked 7,000 British and Indian troops entrenched southwest of Basra. Against the odds the British inflicted a decisive defeat, which ended the threat to Basra – but also made them overconfident, setting the stage for a disaster of their own.

Amphibious Preamble

The Battle of Shaiba had an odd amphibious preamble, as the great rivers flooded during the spring, covering floodplains for miles around – albeit just a few feet deep in most places. Subsequently controlled by massive dams, these seasonal inundations cut off British land communications between Shaiba and Basra, forcing them to deliver supplies by water. The Turks then attacked the British supply system with native sailboats, forcing the British to respond with improvised war vessels. A British transport officer described the battle in an area that had been dry land just a few months before:

… we had joined boats together with platforms, on which were mounted machine guns and mountain guns covered with straw… a small force issued from Basra, with the intention… of clearing our watery lines of communication of the Turkish bellums met with on the previous day… There was about two feet of water and one foot of mud, and the battle was fought in boats on what is usually the Basra-Zobeir road.

Battle of Shaiba 

After failing to cut the Anglo-Indian force off by water, the Turks opened the land battle in the early morning of April 12, 1915 with an artillery bombardment meant to cut the barbed wire in front of the British trenches, followed by an infantry attack that evening (giving them plenty of time to prepare). However the artillery failed to destroy enough barbed wire, and the infantry advance was turned back with bloody losses.

Giving up on the idea of a frontal attack, on April 13 the Turks simply tried to go around the Brits, hoping they wouldn’t sally out from their secure position to risk an open engagement in the desert. But they gambled wrong, as four British and Indian brigades ventured out and eventually forced them to retreat with artillery support (top, Indian artillery in action at Shaiba). After this defeat the Turkish commander, Suleiman Askari, killed himself and the Turks’ tribal allies – sensing which way the wind was blowing – withdrew to a safe distance to await the outcome of the battle.

On the third and final day of the Battle of Shaiba the British commander, Major-General Charles Mellis, took the fight to the Turks with an attack on the main Turkish camp in a nearby palm grove called Barjisiyeh Wood (above, Gurkhas, British colonial troops from Nepal, escort Turkish prisoners of war after Shaiba). Fierce combat ensued, culminating in a dramatic bayonet charge that left the Turkish trenches full of dead. Colonel W.C. Spackman, a medical officer with the British forces in Mesopotamia, described the battle, when he was responsible for treating both British and enemy wounded:

Our troops passed slowly over the horizon and into the sand-dunes, disappearing into the dust, accompanied by a continuous roar of artillery and musket fire as battle was joined. It was not long before the wounded and stragglers began to return… Pause to imagine being brought in, with other wounded with broken limbs or massive injuries, on a mule cart without springs, travelling for miles across the rough desert under a burning sun. Imagine the pain and the thirst. That evening cartloads of dead and wounded Turks were brought in, the dead, dying, and wounded all mixed up, the job of sorting them out being an appalling experience.

Later Spackman toured the battlefield and came across the Turkish trenches: 

Most of the Turkish dead were lying where they had fallen, a pitiful sight, and highly unpleasant too. One large trench, which had been taken by a bayonet charge, held about 200 bodies. The ground behind that trench back to the wood was also dotted with bodies. I then found the Turkish field hospital, which was in a shocking mess with dead and wounded still lying there.

Following this debacle the Turks retreated upriver, and the British commander, Sir John Nixon, decided to press his advantage by sending a force under Major General Sir Charles Townshend to follow them, resulting in the short-lived and ill-fated escapade known as “Townshend’s Regatta.” Beginning in May 1915 Townshend gathered a flotilla of steamboats and flat-bottomed river craft and raced up the Tigris in pursuit of the withdrawing Turks, making it a hundred miles upriver to the town of Amara before he finally overreached and went down to defeat. 

Meanwhile, after the betrayal at Shaiba the Turks decided they could no longer rely on their Arab tribal allies, long notorious for their treachery, resulting in a rapidly widening breach that strengthened the hand of Arab nationalists who wanted independence from the Ottoman Empire. The seeds of the postwar order in the Middle East, such as it was, had been sown.

Central Powers Plan New Eastern Offensive

Back in Europe the dynamic was about to shift dramatically in May 1915. After the Western Front settled into stalemate in the fall of 1914 and German winter attempts to break through bled into the snow in early 1915, the victors of Tannenberg and the Masurian Lakes, General Paul von Hindenburg and his brilliant chief of staff Erich Ludendorff, finally persuaded Kaiser Wilhelm II and chief of the general staff Erich von Falkenhayn to switch the main focus of the German effort to the Eastern Front, reinforcing the earlier decision made at a meeting on New Year’s Day.

They received support from Austro-Hungarian chief of the general staff Conrad von Hötzendorf, who had once again failed to liberate Galicia from Russian control in a series of bloody campaigns over the first three months of the year, culminating in the humiliating loss of the key fortress town of Przemyśl along with over 100,000 Habsburg troops. The Germans were also alarmed by the formation of a new Russian force threatening Eastern Prussia, the Twelfth Army, as well as the prospect of intervention by hitherto neutral countries like Italy and Romania, whose governments believed the Allies – despite some setbacks – were about to conquer Constantinople and win the war.

Hindenburg and Ludendorff argued that Germany could preempt these threats, protect its hapless ally Austria-Hungary, and maybe even end the war with a massive combined offensive against Russia. Unlike Germany in the Second World War, no one seriously entertained the ambition of conquering Russia in its entirety; instead they hoped to take enough territory (and threaten enough future losses) to force Russia to abandon Britain and France and make a separate peace. Then Germany could turn back to the Western Front and with all its strength and finish the war. 

On April 13, 1915 Kaiser Wilhelm and Falkenhayn agreed to the plan presented by Hindenburg, Ludendorff and Conrad for a major offensive on the Eastern Front. Having identified a weak spot in the enemy defenses between the Russian Third and Fourth Armies, the generals proposed transferring eight German divisions from the Western Front and allotting six of these to a new combined Austro-German Eleventh Army, which would then attack carry out a concerted attack on the Russian lines along with the Habsburg Fourth and Third Armies. They also shifted the Habsburg Second Army south from Central Poland to the Galician front, where it would guard the southern flank along with the German Südarmee (South Army), while the Army Detachment Woyrsch under Remus von Woyrsch extended its lines south to fill the gap this left in Poland.

To win German cooperation, Conrad had to swallow his pride and cede command of the operation (which he had already done most of the planning for) to German General August von Mackensen, whose star was rapidly rising under Hindenburg and Ludendorff. The offensive, scheduled to begin May 2, 1915, would center on a stretch of Russian trenches between the Austrian Polish towns of Gorlice and Tarnów. Initially hoping for a limited breakthrough, the Central Powers commanders would be amazed by their success as Russian defenses unraveled, leading to a major reversal for the Allies known to history as the Great Retreat.

Rumors of Gas Attack at Ypres

At first Falkenhayn agreed to the Eastern offensive only reluctantly, still believing the war would ultimately be settled on the Western Front – and also curious (if skeptical) about the potential of a new weapon developed at the urging of Fritz Haber (below), the brilliant German Jewish chemist who led Germany’s pioneering efforts in nitrogen fixation: poison gas. The result was the first major gas attack of the war at the Second Battle of Ypres, beginning April 22, 1915. 

The Germans had already tried to use poison gas in violation of two international Hague treaties on at least two occasions, but without success. On October 27, 1914, the Germans fired tear gas shells at French positions near Neuve Chapelle (later the scene of the first big British offensive of the war) but amid the smoke and shellfire these failed to make much of an impression. Then on January 31, 1915 they fired shells containing benzyl bromide, another eye and skin irritant, against Russian positions at the Battle of Bolimów, but the air was so cold the gas failed to vaporize. 

However the situation would be very different at the Second Battle of Ypres: here Fritz Haber developed a system using highly toxic chlorine gas instead of relatively “mild” lachrymatory agents, delivered from portable pressurized tanks instead of shells due to a shell shortage. With luck the gas would be blown over the enemy lines by steady southwesterly wind (of course in this and subsequent gas attacks there was a considerable risk if the winds should change direction). 

By mid-April the Germans had assembled 5,730 cylinders filled with 171 tons of chlorine gas along a four-mile-long stretch of the front north of Ypres. The Germans tried their best to keep their plans secret, but the Allies received plenty of warning, principally from a German deserter who told the French on April 14. However when the attack failed to materialize on the night of April 15-16 as predicted (the Germans called it off at the last minute because the wind was blowing in the wrong direction) the Allies disregarded this and other reports as mere rumors or psychological warfare intended to shake their confidence. 

In truth there wasn’t much the Allies could do to prepare their troops for this entirely novel form of warfare anyway, and French and British commanders decided that repeating the rumors would only unnerve their men without adding appreciably to their readiness. As a result the French and Canadian divisions in the frontline at Ypres were taken completely by surprise when the new horror swept over them on April 22, 1915.

See the previous installment or all entries.

10 Things You Might Not Know About Do the Right Thing

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

A shot in the arm of American consciousness, Do the Right Thing—Spike Lee’s incendiary profile of racial tension and police overreaction—bristled in the veins of moviegoers when it landed in theaters in the summer of 1989. Taking its title from a Malcolm X quote, Do the Right Thing rumbled with youthful energy, dry comic wit, boombox-blasted politics, and an operatic magic unique to New York City.

It’s a fierce polemic. It’s a snapshot of stereotyping. It’s a chill hangout movie. It was also a showcase of Lee’s directorial know-how, just when experience was shaping his raw creative talent. Crank up the AC and the FM 108 We-Love Radio. Here are 10 things you might not know about Spike Lee's Oscar-nominated joint.

1. IT WAS INSPIRED BY A REAL-LIFE INCIDENT THAT HAPPENED IN 1986.

On December 19, 1986, four black men—Michael Griffith, Timothy Grimes, Curtis Sylvester, and Cedric Sandiford—were traveling when their car broke down. They walked three miles to the predominantly Italian-American Howard Beach neighborhood of Queens, New York, where they got into an argument with some white teenagers before heading to New Park Pizzeria for a meal and a telephone. When they left the eatery, they were accosted by a larger group of white men, including the ones they’d encountered earlier. Sandiford and Griffith were beaten; Griffith tried to run but was chased onto the Belt Parkway, where he was hit by a car and killed. The incident was such a part of Do the Right Thing’s DNA that Lee wanted to open the film with his character, Mookie, shouting “Howard Beach!” while defacing Sal’s Famous Pizzeria.

2. IT’S DIFFICULT TO FIND SHOTS THAT DON’T FEATURE THE COLOR RED.

A scene from 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

One of the most impressive feats of the movie is how powerfully you feel the heat of the summer day. Besides placing Sterno cans near the camera to keep the air wavy, color was the filmmakers' most important tool in transferring the temperature to the screen. “I did a lot of research on [color usage’s] psychology and worked on a controlled palette that pretty much stayed in the warm range—yellows, reds, earth tones, ambers—and tried to stay away from blues and greens, which have a cooling effect,” cinematographer Ernest Dickerson told The Guardian. That rule extended to costuming, set design, and props, which is why almost every scene has at least one red element in it.

3. SPIKE LEE ORIGINALLY WANTED ROBERT DE NIRO TO PLAY SAL.

Oh, what might have been. It’s a no-brainer that Lee would have wanted Robert De Niro for the role of the brash Italian-American pizzeria owner, which eventually went to Danny Aiello (who scored an Oscar nomination for the film). “What young filmmaker wouldn’t want him to star in their film?” Lee said. “So, I gave him the script and he liked it, but he said it wasn’t for him.”

4. IT CONTAINS NODS TO A FEW CLASSIC FILMS.

Bill Nunn in 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

An avid cinephile and a student of film history, Lee is such a massive fan of Charles Laughton’s chest-thumper Night of the Hunter that he dropped part of it into the middle of Do the Right Thing. Radio Raheem (Bill Nunn) carries the knuckle ring version of Robert Mitchum’s Night of the Hunter character’s “Love” and “Hate” tattoos, and he explains their existence using almost the exact same monologue.

Lee and cinematographer Ernest Dickerson also turned to classic noir The Third Man for its use of disorienting Dutch angles; you can watch as the camera angle gets more and more aggressively tilted leading up to the riot.

5. LEE TOOK THE MOVIE TO ANOTHER STUDIO TO AVOID A SAPPY ENDING.

It’s hard to imagine it, but Paramount executives dropped a bomb on Lee close to the end of pre-production, demanding an unrealistically uplifting ending. “They wanted Mookie and Sal to hug and be friends and sing ‘We Are the World,’” Lee told New York Magazine. "They told me this on a Friday; Monday morning we were at Universal.” Obviously, he did the right thing.

6. ROSIE PEREZ’S DANCE SEQUENCE TOOK EIGHT HOURS TO FILM.

Even the opening credits of Do the Right Thing are iconic. Rosie Perez’s frenetic, emotional dance to the bowel-shaking bass boom of Public Enemy’s “Fight the Power” sets the stage as well as any of Shakespeare’s prologues.

“Spike didn’t tell me he needed anger and angst and exhaustion,” Perez explained. “Instead, he just said, ‘I need you to kill it.’ I thought, okay. I thought I killed it in the first hour. Freakin’ eight hours later, this freakin’ man had me still dancing. I had tennis elbow, my knee was swelling. So, I forgot about the lyrics, the original words—you know, Elvis, John Wayne? To me, it was all 'Spike, Spike, Spike, I hate you, I hate you, I hate you!' And when rage and hate just poured out of my body, pure exhaustion, he went, ‘Cut, print it! We got it!'"

7. LEE HIRED THE NATION OF ISLAM’S PARAMILITARY AS SECURITY ON THE SET.

The production descended on a Bedford-Stuyvesant street in late summer 1988, building Sal’s Famous Pizzeria and painting murals, but largely leaving the neighborhood in its natural state for the shoot. To ensure safety, they hired members of Fruit of Islam, then run by Louis Farrakhan, to act as on-set security. One of their first jobs was boarding up known crack houses and guarding them to deter drug abusers from returning.

8. CLOTHING REINFORCES THE RACIAL LOYALTIES.

Spike Lee, Danny Aiello, John Turturro, and Richard Edson in 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

Lee and costume designer Ruth E. Carter bolstered certain characters’ attitudes by dressing them in racially-coded clothes. The white, brownstone-owner cyclist (John Savage) who scuffs Buggin’ Out’s (Giancarlo Esposito) shoes wears a Larry Bird Celtics jersey while Buggin’ Out’s sneaks are Air Jordans. Mookie also wears a Jordan jersey and a Dodgers jersey with Jackie Robinson’s number. Plus, while the racist Pino (John Turturro) wears all black in classic villain fashion, he wears a white undershirt while at work in the pizzeria, signaling his racial allegiance in the neighborhood in contrast to his open-minded brother Vito (Richard Edson), who wears a black undershirt.

9. IT WAS DIRECTLY AIMED AT HURTING A MAJOR NEW YORK CITY POLITICIAN.

There’s no mistaking that Do the Right Thing is an overtly political movie that spoke to complex, large-scale issues like gentrification, systemic racism, and police brutality, but parts of it were also aimed at one politician in particular. Blaming Mayor Ed Koch for the deaths of black men and women like Eleanor Bumpurs (one person to whom the movie is dedicated) at the hands of an overly aggressive police force, Lee included graffiti that said “DUMP KOCH” next to an image of Mike Tyson punching Koch and Jesse Jackson campaign posters that say, “Our Vote Counts!”

“We had this plan because the film came out in August and that fall was the Democratic primary [between Koch and David Dinkins],” Lee told New York Magazine. “So, throughout the film, you hear Mister Señor Love Daddy, played by Samuel Jackson, telling people to vote, vote, vote. And Dinkins won."

10. BARACK AND MICHELLE OBAMA SAW IT ON THEIR FIRST DATE.

Martin Lawrence, Giancarlo Esposito, and Steve White in Do the Right Thing (1989)
Universal Pictures Home Entertainment

“He was trying to show me his sophisticated side by selecting an independent filmmaker,” Michelle Obama said, reflecting on seeing Do the Right Thing on her first date with her future husband—and the future president. On the 25th anniversary of Lee’s film, Barack Obama recorded a video message thanking Lee for helping him impress Michelle. Other options for that first date? Batman and Honey, I Shrunk the Kids were still in theaters, and The Karate Kid Part III came out the same weekend as Do the Right Thing.

13 Nostalgic Facts About American Graffiti

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

Before he made Star Wars, then ruined Star Wars, then saved Star Wars by selling it to Disney, George Lucas made another iconic film that has served as a cultural touchstone. American Graffiti, released 45 years ago today, was a nostalgic, semi-autobiographical look at the American teenager circa 1962, before "the sixties" kicked in and changed everything. The film was a massive hit, earning $55 million in 1973 and another $63 million when it was re-released in 1978—a total of some $500 million at today's ticket prices. Let's get nostalgic for nostalgia and look in-depth at the making of American Graffiti

1. GEORGE LUCAS MADE THE MOVIE PARTIALLY OUT OF SPITE.

The young director's previous film and first feature, the futuristic sci-fi drama THX-1138, had been a disappointment both critically and commercially. Lucas' wife, Marcia—as well as friend Francis Ford Coppola—urged him to make something more relatable. "Don't be so weird," Lucas recalled Coppola telling him. "Try to do something that's human ... Everyone thinks you're a cold fish, but you can be a warm and funny guy, make a warm and funny movie."

Marcia said, "I reminded George that I warned him [THX] hadn't involved the audience emotionally. He always said, 'Emotionally involving the audience is easy. Anybody can do it blindfolded, get a little kitten and have some guy wring its neck ...' So finally, George said to me, 'I'm gonna show you how easy it is. I'll make a film that emotionally involves the audience.'" He showed her!

2. IT WAS SAVED FROM BECOMING A TV MOVIE BY THE GODFATHER.

Universal Pictures gave Lucas a budget of $600,000, or about $3.5 million in 2016 dollars, to make the movie—in other words, not very much. When Coppola came onboard as a producer shortly after the release of The Godfather, Universal gave Lucas another $175,000. Later, when the film was finished and had test-screened positively, Universal inexplicably wanted to drastically re-edit it and release it as a TV movie. Lucas objected but had no clout. Coppola, on the other hand—by this time an Oscar-winner—could make studio executives listen. He convinced them to do only a little bit of trimming (the deleted scenes were reincorporated for home video release) and to release the film theatrically. 

3. CONTRARY TO POPULAR BELIEF, THERE IS NO ACTUAL CONNECTION BETWEEN AMERICAN GRAFFITI AND HAPPY DAYS.

Happy Days premiered five months after American Graffiti was released. It was set in the '50s, had Ron Howard playing a teen very similar to his American Graffiti character, used "Rock Around the Clock" as its theme song, and even borrowed the American Graffiti font for the credits. You'd think that Happy Days was somehow a spin-off of the movie, but you'd be wrong. It actually began as an unsold pilot in 1971 and aired in 1972 as part of the anthology series Love, American Style. (Lucas watched it at some point when he was considering casting Howard in American Graffiti.) After the movie took off, and with '50s nostalgia in high gear (Grease was burning up Broadway), ABC reconsidered the Happy Days pilot, ordered a series, and did everything they could to make it remind people of American Graffiti. It ran for 10 years and was one of the most popular sitcoms in TV history. 

4. THE STUDIO WANTED TO CHANGE THE TITLE.

Universal executives didn't know what American Graffiti meant as a title (they weren't alone), and begged Lucas to change it. They furnished a list of 60 alternates, including Rock Around the Block (Coppola's suggestion) and Another Slow Night in Modesto (which was close to Lucas' original working title, Another Quiet Night in Modesto). Lucas wouldn't budge.

5. LUCAS'S CO-WRITERS DIDN'T LIKE THE ENDING.

The film ends with title cards revealing what happened to the main characters (the male ones, anyway) afterward, much of which isn't happy. The co-writers Lucas hired early on to help him develop the script, Willard Huyck and Gloria Katz, found it depressing and strange and tried to talk Lucas out of it but never succeeded. (Stubbornness is a recurring theme in stories about Lucas.)

6. WOLFMAN JACK WAS A HOLDOVER FROM A PREVIOUS MOVIE IDEA LUCAS HAD.

The radio DJ with the distinctive voice was part of Lucas' teenage years in Modesto, California, and Lucas even considered making a documentary about him when he was a student at USC's film school. When American Graffiti made him a millionaire, Lucas paid the Wolfman a little extra for serving as the film's "inspiration." 

7. IN THE ORIGINAL CONCEPTION, THE BLONDE WASN'T REAL.

Curt (played by Richard Dreyfuss) spends most of the film chasing a beautiful, mysterious blonde (played by Suzanne Somers) he sees driving a Ford Thunderbird. Lucas originally intended to shoot a scene where the blonde and the car were briefly transparent, revealing to the audience that she was a figment of Curt's imagination. This was one of the things that had to go when Universal insisted on a strict, tight budget. 

8. THE PRODUCER HAD TO BECOME MACKENZIE PHILLIPS'S LEGAL GUARDIAN FOR THE SHOOT.

Mackenzie Phillips was just 12 years old when she arrived to make the film, and though she had showbiz experience (her father, John Phillips, was in The Mamas & the Papas), neither she nor her parents realized that California law required her to have a guardian present. "They were almost going to have to recast me, but Gary Kurtz"—a producer on the film—"and his family said, 'We'll take her,'" Phillips said in 1999. " So they went to the courts in San Francisco and got guardianship of me." Phillips lived with the Kurtzes for the duration of the shoot and described it as a happy experience. 

9. THE PRODUCTION WAS KICKED OUT OF TOWN AFTER ONE DAY OF SHOOTING.

Lucas and company planned to shoot the film in San Rafael, California, as the real setting—Modesto—had changed too much since 1962. But after just one day in San Rafael, the city council gave them the boot. Not only had a member of the crew been arrested for growing marijuana, but the first night of filming and its accompanying street closures had drawn complaints from local businesses. The production moved 20 miles north to Petaluma, where things ran a bit more smoothly (at least in terms of interactions with the locals).  

10. THE SOUNDTRACK ALBUM SOLD 3 MILLION COPIES.

The concept of filling an entire soundtrack with nothing but preexisting popular songs (rather than an instrumental score) was still new, with Easy Rider (1969) having been the first major example. The American Graffiti double album included 41 of the 43 songs heard in the movie, arranged in the order they appear, missing only "Gee" by The Crows and "Louie Louie" by Flash Cadillac & the Continental Kids.

11. THERE'S A REASON ELVIS PRESLEY IS CONSPICUOUSLY ABSENT FROM THE SOUNDTRACK.

The reason, of course, is money. To mitigate the cost of licensing so many songs, Universal offered a flat rate to all of the labels involved. Everyone went along with it except for RCA, which meant no Elvis. The kids in American Graffiti are therefore probably the only teenagers in America who could listen to the radio all night in 1962 and never hear an Elvis song. 

12. HARRISON FORD WOULD ONLY AGREE TO BE IN THE MOVIE IF HE DIDN'T HAVE TO CUT HIS HAIR.

The future Han Solo had become disenchanted with showbiz and was working as a carpenter to support his wife and two children when he got the American Graffiti audition. His character, Bob Falfa, was supposed to have a flattop, but since Ford didn't care much whether he made the film or not, he issued an ultimatum: He wouldn't do it if it required cutting his hair. A compromise was reached, and Bob Falfa wears a Stetson hat throughout the film. 

13. THERE WERE A WHOLE LOT OF SHENANIGANS ON THE SET.

Lucas worked hard and fast, shooting anywhere from six to 10 script pages a night (twice the norm), but there was still a lot of downtime for the large ensemble cast of young, energetic actors. Harrison Ford (who turned 30 during the shoot and was one of the oldest people there), Paul Le Mat, and Bo Hopkins drank a lot of beer between takes and were said to have been kicked out of the Holiday Inn for things like urinating in the ice machines and climbing on the hotel's rooftop sign. Someone set fire to Lucas' hotel room. Le Mat threw Dreyfuss into the swimming pool one night, gashing his forehead. Adding to the carnival atmosphere were the hundreds of local gearheads who were paid $25 each to lend their classic cars to the production and who hung around every night, gawking at the actors and drag-racing on the back streets. 

Additional sources:
Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'n' Roll Generation Saved Hollywood, by Peter Biskind
Skywalking: The Life and Films of George Lucas, by Dale Pollock

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