+http://www.starwars.com/episode-ii/feat ... index.htmlvakundok wrote:To me it means that for example the images of the EU character who will appear in ep 3 came from the Holocron, so the Holocron was used for both ep2 and ep3.
With Aayla Secura, the process had an interesting twist. She was already an existing heroine, with a built-in audience of comic book readers who understood her origins before she ever made it onto the screen. After seeing artist Jon Foster's original cover art for issue #33 of the ongoing Star Wars series, Writer/Director George Lucas saw star potential.
+http://www.starwars.com/hyperspace/memb ... 30908.html"Getting the character to look like what George wanted was our primary goal" says Libbert. "He answered a few questions we had related to the character's body image, but it ended up that he wanted the costume to look like the comic book character and the body to be human-like."
So, no, the Holocron isn't used by production for characters. Comics and the Visual Dictionaries were.I'm surprised to see Denaria identified as such on the call sheet, since that name was established in the Episode II Visual Dictionary and not by Production. During Production, the aide had the jokey name of Twink Kee.
Unless there's a Visual Dictionary within easy reach...(Of course, it was only a negligible part, but still.) In other words if George Lucas needs something from the EU and noone knows it around him, the answer will come from the Holocron.
That's exactly what the Holocron is FOR. Novels and comics. Images, character background, and technical specs come from the DK books rather than the Holocron.First of all, he is the keeper of the Holocron, not the only user of it. What he knows about whether who read it and what for (in other words, the "only rarely") can be considered as the minimum.
What use would it have to production? Images, character backgrounds and some technical specifications (maybe). For novels or comics it is basically useless, unless the author really want to tie in things from other sources.
+http://www.starwars.com/community/askjc ... 10817.html
Star Wars Insider #68, page 36:Q: Do you use any of the Star Wars books and guides when working on your designs? Do you look at the "Expanded Universe" at all?
A: As designers we look at all kinds of stuff for inspiration and we have a crack research staff to help us with that. The Star Wars books serve as a starting point and guide for certain types of questions that arise in respect to certain cultures or technologies that have already been established in the movies. The Star Wars Chronicles book is our bible, the Incredible Cross-Section books provide a great starting point when we're adding to existing locations. We usually don't refer to the Expanded Universe materials specifically unless our research team finds something that directly corresponds to our assignment.
Star Wars Insider #68, page pg.43:The first two Incredible Cross Sections books were conceived to explore bold new territory in the Star Wars Universe, taking a rare look inside more vehicles and vessels than we have ever seen before, and doing it in unprecidented detail. These books would represent the most thorough research ever done on these vehicles and would receive Lucasfilm's formal imprimatur as canon. These volumes would henceforth be sent out to licencees as reference guides and would even become useful manuals at Industrial Light & Magic, where some of the artwork influenced details in Episodes I and II
STAR WARS INSIDER #45. pg. 21:As Richard [Chasemore] and Hans [Jenssen] got into the Star Wars universe, they became more comfortable creating new elements. Richard produced the cross-section of Slave I almost entirely on his own, for example. By the time of the Episode I book, I was contributing mainly conceptual guidance and occasional details on ship layouts. It’s a testament to the Star Wars sensibility that Hans and Richard developed that their work eventually was referenced by the Production Art Department and ILM. During the Episode II Cross-Sections book project, Richard asked concept design supervisor Doug Chiang about the weapon systems on Episode II's Slave I. Doug told him, "You should know, you put them there." ILM had followed Richard's illustration in creating the digital Slave I.
Q: Do you have a map of the Star Wars universe in your head-where every creature comes from, what they eat, their society back home?
"I think somewhere in the dark recesses of my company there is something like that, but I've never seen it. I don't really know. Even though I live this and I know the worlds very well, and I know what everything is, half the time I'm in the fortunate position of being able to just make it up. ---George Lucas
In your opinion, the Holocron is basicly nothing more than an in- house CUSWE. I disagree. In my opinion, it is COSWE.
Well then, its too bad for you that my opinion agrees with Chee's opinion of the Holocron.
Again, incorrect. As proven above, the DK books are referred to by production, including ILM. Not the Holocron.When someone (from EU production staff) will ask whether how long the Executor is, he/she will get the answer that it is around 19 km. Not because the ITW or ICS contains that, but because the Holocron contains that.
And you seem to overstate its importance in the face of evidence to the contrary.You seem to suggest that the Holocron (and Chee with it) is unimportant.