Before Star Wars opened, George Lucas kept sequel rights and a major share of merchandising rather than take a larger fee; licensed merchandise later generated tens of billions in retail sales

Correction, 15 September 2026: The original headline dated the rights negotiation to 1977, described the merchandising interest as complete ownership and treated more than $20 billion in licensed retail sales as the value of the rights. The deal was negotiated before release, contemporary accounts describe a substantial share of merchandising, and retail sales are not an asset valuation.

During negotiations completed before Star Wars opened in 1977, George Lucas kept his existing writing, producing and directing fee rather than take a reported increase. Accounts of the deal say he secured sequel rights and a substantial interest in merchandising; a history of The Empire Strikes Back describes a 50–50 licensing split. Forbes reported that Fox regarded these ancillary rights as having little value at the time. That is more precise than the familiar shorthand that he simply received all merchandising rights because nobody thought toys would sell.

That single clause, agreed to without much of a fight because both sides had wildly different guesses about what it was worth, is now one of the most lopsided deals in the history of the movie business — and the reason a single company came to control a franchise worth many multiples of what it earned in theaters.

A film nobody expected to need toys

By the time Star Wars went into production, Fox was not a studio brimming with confidence in it. The film had been rejected by other studios before landing there, its budget had crept upward over the course of an already strained production, and the executives signing off on it were doing so with the specific, guarded caution of people who suspected they were funding a flop. Against that backdrop, letting Lucas walk away with the merchandising and sequel rights read, to the people signing off on it, as a favor to a director asking for an odd consolation prize on a movie they doubted would need consoling at all.

Lucas, for his part, has said the decision came from somewhere more personal than a hunch about action figures. He wanted control — over sequels, over the direction of the story, over what happened to these characters after the credits rolled — and merchandising rights were bundled into that same instinct almost as an afterthought. Nobody involved in the deal, on either side of the table, was pricing in what actually happened next.

The toy company that got caught with nothing to sell

What happened next arrived faster than anyone could manufacture for it. Star Wars opened in May 1977 and immediately overwhelmed every projection anyone had made about it, and the toy company holding the license, Kenner, found itself in the strange position of owning the rights to the year’s most in-demand toy with no actual toy to put on shelves in time for Christmas. Kenner had reportedly held off on tooling up a full production line because, like Fox, it hadn’t expected the demand to materialize.

Its solution became one of the more memorable footnotes in toy industry history. A Kenner executive, Bernard Loomis, devised what’s now remembered as the “Early Bird Certificate” — a $7.99 cardboard package containing artwork of the planned figures, a display diorama, some stickers, and, crucially, a mail-in certificate promising that four actual action figures would arrive in the mail sometime between February and June of 1978. Kenner capped the campaign at 500,000 of these effectively empty boxes, and parents lined up for them that Christmas anyway, betting on a mail-in promise because an actual figure didn’t exist yet to sell.

The same instinct, doubled down on

Lucas didn’t treat the merchandising clause as a one-time win to bank and move on from. When it came time to make The Empire Strikes Back, he chose to personally finance the sequel rather than let Fox pay for it outright, reportedly because he’d come away from the first film’s production feeling that the studio had tried to undermine his creative control over it. Financing it himself meant Fox would still handle distribution, but Lucas would keep authority over the story. It was not a cheap decision. The budget ran roughly $10 million over its original estimate, and the entertainment lending division of Bank of America — which had already put up a loan to help cover the overage — pulled out, wary of one individual personally bankrolling a Hollywood sequel even one attached to the highest-grossing film of its era. Lucas turned to Fox to cover the gap, and getting the studio’s help cost him some of the very control he’d financed the picture himself to keep.

The same wariness of losing control shaped the later sequel negotiations. After the first film succeeded, Lucas financed The Empire Strikes Back and used his leverage to expand Lucasfilm’s control over the sequel and licensing business. Accounts differ in how they compress the original and later agreements, which is why the chronology should not be reduced to one 1977 trade.

What the studio actually gave away

The scale of that miscalculation is easier to see in hindsight than it could have possibly been in the room. By one widely cited estimate, Star Wars merchandise generated roughly $20 billion in lifetime licensed retail sales through 2012. That figure describes consumer sales, not the market value of the rights, Lucasfilm’s revenue or Lucas’s personal profit. Toy sales alone were still running at more than $3 billion a year as of 2011, decades after the original film’s release, from a category of merchandise that Fox’s own executives hadn’t considered worth negotiating hard for.

In 1977, nobody could have seen any of it coming. Merchandising on films at the time was a minor, almost incidental revenue stream, mostly limited to a poster or a novelization, and there was no real precedent for a movie generating a toy aisle’s worth of standalone commercial value. Fox was pricing the clause against the business it knew. Lucas, whether by instinct or luck, was pricing it against a business that didn’t exist yet.

The deal that rewrote how studios negotiate

The Star Wars merchandising clause is taught, more or less informally, as a cautionary tale inside the industry it reshaped — the moment studios learned to fight over ancillary rights with the same intensity they once reserved for box office splits.

Many later franchise negotiations, and the retained-rights clauses directors’ lawyers now routinely insist on, trace their leverage back to what Fox let go of almost as a courtesy.

It’s rare that a single line item in a single contract ends up worth more than the product it was attached to, but that’s more or less what happened here, decided by two sides making their best guess about a market that hadn’t been invented yet — and only one of them guessing right.