Or, more accurately, since George has a keen ability to identify ways of working that are antiquated or hindering to his creative process, you have to be ready. I was constantly researching newer technologies that were coming out, because you never knew when something might be applicable to what we were doing. It was great because you never knew what you might be doing when you came into the office each day. We had to figure things out, and that was great because it meant you had to have a general knowledge of everything. Since we were a small group, that meant when things were really busy we weren’t just going to bring in a lot of people. We were all in the Main House at Skywalker Ranch, and the center of activity was the editorial area downstairs.
Mike Blanchard: George created a small company called JAK Films that was separate from the rest of the company. : So you came onto the team that worked very closely with George Lucas on his film and television projects. I had gone to film school and I’d wanted to work at Lucasfilm for years. We were shooting new material to bridge the episodes and we also changed the openings to be more theatrical. It was after the show’s ABC broadcast run, and we were joining the episodes together into feature-length versions to be released on video. Mike Blanchard: I got to Lucasfilm in 1995, and I was hired to work on The Young Indiana Jones Chronicles. : To begin, could you provide some background about how you first came to Lucasfilm? Mike Blanchard, Lucasfilm vice president of post production Note: This interview originally appeared in the Star Wars Celebration 2022 Commemorative Guide. Intimately involved in the development of Clones’ digital camera system and related workflow, he reflects on the momentous experience and discusses how Episode II helped change filmmaking. Mike Blanchard is Lucasfilm’s vice president of post-production and worked as post-supervisor and technical supervisor on all three of the Star Wars prequel films. Now 20 years after the release of Attack of the Clones, productions across the film and television industries use digital cameras of all kinds as others continue to use celluloid film. For Lucasfilm, it was the continuation of a decades-long series of innovations to improve the craft of filmmaking and allow storytellers like George Lucas to realize their full vision onscreen. Over five years in active development, Lucasfilm partnered with Sony and Panavision to create a prototype digital cinema camera that bypassed the use of traditional celluloid film. Star Wars: Attack of the Clones was the first major blockbuster movie shot entirely in a digital format. In Saga Chronicles, Lucasfilm’s Lucas Seastrom tells those tales. Some of the greatest Star Wars stories are those from behind the scenes. The prequel trilogy veteran recounts the setbacks and success in shooting Episode II as the first all-digital blockbuster.
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