<P> Lucas and producer Gary Kurtz took the script to American International Pictures, who expressed interest, but ultimately believed American Graffiti was not violent or sexual enough for the studio's standards . Lucas and Kurtz eventually found favor at Universal Pictures, who allowed Lucas total artistic control and the right of final cut privilege on the condition that he make American Graffiti on a strict, low budget . This forced Lucas to drop the opening scene, in which the Blonde Angel, Curt's image of the perfect woman, drives through an empty drive - in cinema in her Ford Thunderbird, her transparency revealing she does not exist . </P> <P> Universal initially projected a $600,000 budget, but added an additional $175,000 once producer Francis Ford Coppola signed on . This would allow the studio to advertise American Graffiti as "from the Man who Gave you The Godfather (1972)". However, Lucas was forced to concede final cut privilege . The proposition also gave Universal first look deals on Lucas's next two planned projects, Star Wars (1977) and Radioland Murders (1994). As he continued to work on the script, Lucas encountered difficulties on the Steve and Laurie storyline . Lucas, Katz and Huyck worked on the third draft together, specifically on the scenes featuring Steve and Laurie . </P> <P> Production proceeded with virtually no input or interference from Universal . American Graffiti was a low - budget film, and executive Ned Tanen had only modest expectations of its commercial success . However, Universal did object to the film's title, not knowing what "American Graffiti" meant; Lucas was dismayed when some executives assumed he was making an Italian movie about feet . The studio therefore submitted a long list of over 60 alternative titles, with their favorite being Another Slow Night in Modesto and Coppola's Rock Around the Block . They pushed hard to get Lucas to adopt any of the titles, but he was displeased with all the alternatives and persuaded Tanen to keep American Graffiti . </P> <P> The film's lengthy casting process was overseen by Fred Roos, who worked with producer Francis Ford Coppola on The Godfather . Because American Graffiti's main cast was for younger actors, the casting call and notices went through numerous high school drama groups and community theaters in the San Francisco Bay Area . Among the actors was Mark Hamill, the future Luke Skywalker in Lucas' Star Wars trilogy . </P>

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