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00:00Everything was so well done. And I just want to know, what was like your process as showrunner trying to keep everything in order to make sure it was as accurate as it could be?
00:08I think I'll key on to the word, you know, accurate, because it's an interesting one to talk about in the context of the show.
00:16And it's one that with our department heads, we talked about a lot.
00:20What does it mean to be accurate about a period in 1600 that, you know, there's still to this day a lot of debate about within Japan, within the community of Japanese historians, and many of whom worked on our show to help advise us.
00:35You know, what are we in search of? And also in the interest of rendering something that's makeable on screen and, you know, that we can execute at the number that we have.
00:45And so what the word that we ended up really chasing more than anything was this idea of authentic.
00:53What is it to do something that is authentic to work with your Japanese producers, your Japanese advisors and collaborators to create a version of Japan in 1600 that hopefully will feel true to Japanese audiences.
01:10And to do that, I think you have to really rely on those voices in your process.
01:17Our Helen Jarvis, our production designer, you know, worked very hard through historical detail to kind of, you know, get it right, so to speak.
01:27And then you're adding layers that, you know, are also expedient for production purposes.
01:33And so when we did that, we would very often rely on the same kind of tricks and shortcuts that were done within the vernacular of Japanese cinema in order to do it so that we were careful to, you know, be sure that we were being as respectful as humanly possible.