Hiroyuki Sanada and Anna Sawai on Shōgun, the TV epic of the moment

FX’s years-in-the-making epic Shōgun is finally here—and it’s just as awesome and grandiose as we could have hoped. Based on James Clavell’s 1975 novel, the 10-episode series shines with arresting visuals and sublime performances. Plus, there’s a huge difference from the 1980 miniseries. While that one centered its Japan-set story mainly through the lens of a white character, the present iteration, created by Rachel Kondo and Justin Marks, treats him as an outsider.

Set in the 1600s, Shōgun is a military drama about Lord Yoshii Toranaga’s (played by legendary star Hiroyuki Sanada) rise to power and his surprising mentor-mentee bond with a stranded British sailor, John Blackthorne (Cosmo Jarvis). Toda Mariko (Monarch: Legacy Of Monsters’ Anna Sawai) acts as a translator between the two, becoming a samurai of sorts who connects two very different worlds.

The A.V. Club spoke to Sanada and Sawai about the importance of seeing their characters’ journeys fleshed out, why this feels like the right time to adapt Shōgun, and whether there’s room for a second season.

Hiroyuki Sanada: First of all, I reread James Clavell’s novel and then tried to make my original way to play Lord Yoshii Toranaga. I’ve been doing research on it for a long time now since the show has been in the making for seven to eight years. So this time, I just focused on our original script. [Note: Sanada is a producer on the show.]

Anna Sawai: To prepare for my role, I had to read books on Hosokawa Gracia, who inspired my character, Toda Mariko. I had to learn how to wear a kimono, walk in it, sit in, stand in it, how to open doors in it, and also write in a certain way. I had to basically learn everything [for the part].

AVC: Why is it now the right time to do a Shōgun adaptation after the 1980 limited series?

HS: Personally, Toranaga’s model, Tokugawa Ieyasu, the first Shōgun, stopped a war period and created a peaceful era for 260 years. He’s a hero. I thought, “Why am I playing this role now?” Maybe because we need to see that kind of hero. That was my biggest motivation to do this role now. This time, our 2024 version has a lot of Japanese eyes; it’s not only John Blackthorne’s blue eyes. We put Japanese lenses in the script to show the audience more details of each character via the episodes. It’s a big difference from the ’80s series.

AS: I thought it was important to tell Toda Mariko’s story because she’s unlike any figure I’ve seen in Western media. There’s more representation now, and I’m thankful for the opportunities we have and for people like Hiro for paving the way. But as for Japanese women, we are still categorized to play submissive, quiet ladies—or the one who does action or who is sexy. I wanted to see more depth and reality in the female character. To be able to bring the Japanese nuance of being subtle and sensitive, but having core strength meant a lot to me.

AVC: Do you guys cover the whole book in season one or did you have to figure out what to include and eliminate?

AS: We do cover the whole book in season one. But it’s so beautifully written and detailed, we had to choose the key moments to show in our 10 episodes. So there’s war, passion, politics, loss, love, real human drama.

HS: Yeah, it’s all in one.

AVC: What was it like to work with each other and develop your characters’ dynamic on the screen and on the set, especially considering the subject matter is so intense?

AS: I was pretty nervous meeting him because he’s truly a legend. It helped because Mariko also serves Lord Toranaga, and she can’t look him in his eyes because it’s considered more respectful if she’s looking lower. I’m happy we were able to shoot chronologically because I got more used to working with Hiro, and Mariko is slowly learning how to build a relationship with her Lord.

HS: Yeah, luckily we could develop the chemistry naturally and in an organic way. I believe it worked. Acting in Shōgun was somehow very natural. I didn’t have to think much. We prepared everything so much before shooting that when I was in front of the camera, I just felt freedom. It was rewarding to just be there. I had so much fun every day with both acting and producing; it felt like a dream.

AS: It was an intense role. Everything she’s going through is so heavy, so I don’t know if it was fun in that sense, but I will say that any day the horses were on set was the best day. I was always feeding them apples or brushing them. I would disappear, and the assistant directors would go, “Oh, she’s with the horses again.”

AVC: How about developing your chemistry with Cosmo Jarvis, who plays the third lead, John Blackthorne?

AS: For Mariko, when she first meets Blackthorne, she’s closed off. She doesn’t trust him. He’s a Protestant; she’s a Catholic. He’s giving them information she doesn’t think is true. So it’s interesting to see how she opens up to him because she doesn’t care what he thinks. He doesn’t know the rules of Japanese society so she doesn’t have to act the way she does in front of the Japanese men. She’s being herself more, and he’s accepting of her. So their relationship evolves naturally.

HS: Cosmo and I didn’t have to talk much as characters, even during shooting. We just had to look at each other and understand each other without words somehow. Developing their friendship little by little helped. I love the scene at the end of episode three where we jump into the ocean together. That’s the beginning of a friendship, but Toranaga is still testing him to see if he can believe him. That was amazing. I really enjoyed shooting it.

AS: I enjoyed watching it.

AVC: Anna, you’ve starred in some huge projects recently, including Pachinko and Monarch: Legacy Of Monsters. How does it feel to have these distinct TV shows under your belt?

AS: Honestly, I can’t believe it myself that I’ve been part of these huge, beautiful projects. I love them in different ways. I do think Shōgun is something we haven’t seen though. We worked so hard on it. If you like Pachinko and Monarch: Legacy Of Monsters, this show is perfect for you.

AVC: Do you know if Shōgun or Monarch will return for a second season?

AS: Shōgun is supposed to be a limited series, but I don’t know; I don’t have the answers to that. Who knows? I’ve been asking the same question for Monarch as well—and again, I don’t have an answer.

AVC: Hiroyuki, one of my colleagues, Sam Barsanti, noticed how you kept dying in several of your projects at the hands of cool characters. Have you noticed that?

HS: [Laughs] Yeah, and even in Japan, I die in most of them. It’s maybe 80 percent of the time, even if I’m the good guy. But I like dying in a TV show or movie. It’s dramatic. Survival isn’t the only goal for me. I enjoy it.

AVC: Speaking of, you have a legendary roster of projects not just in Japan but also globally. What’s the biggest motivator for you?

HS: International projects are difficult but interesting. And they’re very important for the future between East and West cultures. I wanted to break the wall and make a bridge for the future of our generation. I feel like it’s one of my missions; it’s why I choose to do these international projects.