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The Villager - Japanese star Hiroyuki Sanada comes to SoHo, talks Asian representation in new FX drama Shōgun
www.thewrap.com
The Villager - Japanese star Hiroyuki Sanada comes to SoHo, talks Asian representation in new FX drama Shōgun

'Shōgun' Star Hiroyuki Sanada Calls FX Series a 'Dream East-Meets-West Project'
During a recent screening for press, "Shogun" star Hiroyuki Sanada called the project "a dream" between Japan and America.

When it came to adapting this grand epic, executive producers Rachel Kondo and Justin Marks wanted to be respectful to both Clavell’s original novel and Japan as a whole, a country that has a history of being unfairly characterized in American media. To do this, the team first compiled a writers’ room largely composed of Asian-American writers, “all Japanese and Chinese-American and predominantly women,” Kondo said.
“Finding that space in between two worlds was actually the asset that we brought to the table rather than the anchor on our neck that didn’t give us enough to say,” Kondo said of this multicultural heritage.
The project started, as all projects do, with a script. But once the scripts were submitted to “Shōgun’s” Japanese producers, Justin Marks realized that the American team wasn’t just looking for notes.
“What you’re really looking for is approval,” Marks said. Early on, the team realized they weren’t getting the approval they so craved from one of their producers, Mako Kamitsuna.
“Mako held fast because she said, ‘I can’t even give you notes on this line because a Japanese character from this period wouldn’t even think this way,” Marks said. “So we began to really workshop it over the course of a year to change that, which was — for a writer — a very humbling process.”
However, it was Sanada himself who eventually spearheaded the translation process “Shōgun” would eventually employ. After ironing out the drama’s period-appropriate voice, scripts were initially written in English before they were sent to a team in Tokyo for Japanese translation. After that first translation, the scripts would be sent to Kyoto-based playwright Kiyoko Moriaki, who would “add her flair” to the scripts, Kondo explained. These revised scripts would finally be sent to the actors, who would add their own adjustments.
“The Japanese script, Justin sent to me every episode,” Sanada said. “I take notes and make changes, send back, and then back and forth, back and forth.”
Sanada took care to find a balance between period accurate speaking patterns and modern patterns that would be understandable to the average Japanese viewer. “We tried to make a good balance. If it’s too traditional, some young audience cannot understand, but we don’t want to subtitle Japanese to Japanese, right?”
Afterwards, the final scripts were then sent to producer Eriko Miyagawa, who transcribed all the dialogue into Japanese and then back to English for the subtitling.
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