Special features as marketing materials have long been a part of the Hollywood system for crafting perceptions of stars and celebrities. The development of LaserDiscs and the establishment of the Criterion Collection as an archive helped to solidify paratextual materials as critical in contextualizing cinema as a cultural force (Kendrick). Such paratextual material often serves a generative function, inventing individual or even corporate auteurs through deliberate rhetoric or narratives that construct a perspective on the film or filmmaker for the receptive audience (Brookey and Westerfelhaus). This evokes classical auteur theory, which developed as a method for identifying the unique visual, stylistic, and personal structures of traditionally underappreciated directors (Sarris), but evolved to encompass conceptions of auteurs as entities in larger webs of cultural production forces (Corrigan; Christensen). In connection with later auteur theory’s emphasis on the means of production, consideration should be given to how special features and other digital paratexts reposition traditional understandings of what constitutes an auteur. These paratexts importantly highlight a reputation or theorization of digital technologies that center on the specific characteristics of the digital means of production in contemporary cinema. To examine how cinematic special features are contributing to an evaluation of a specific form of corporate auteur, the “digital auteur”, this article engages with the paratextual materials accompanying the home releases of George Lucas’s Star Wars prequels, The Phantom Menace (1999), Attack of the Clones (2002), and Revenge of the Sith (2005). Lucas’s early adoption and innovative approach to digital filmmaking technologies position him as a spokesperson for the new digital paradigm in film. Lucas’s emphasis on digital technologies in the paratexts contained on the DVDs of his trilogy demonstrate what digital tools offer to filmmakers and implicate digital technologies in establishing a variation of cinematic authorship. This understanding of authorship transcends genres and even individual filmmakers perpetrating the creation of dreams, the exploration of possibilities, and ultimately the integration of digital technologies into a fully realized system of production. The following section will briefly cover the history and expansion of auteur theory, before engaging paratextual theories to show how special features contribute to constructing the identities of films and filmmakers. Finally, I synthesize these tracks to establish specific dimensions of the “digital auteur.”