How ‘Shogun’ DP Sam McCurdy Crafts a Visual Masterpiece

Cinematographer Sam McCurdy sensed he was part of something significant during his almost year-long work on FX’s “Shōgun.” With the series set in 1600s Japan, McCurdy shot five of the 10 episodes. Coming from the U.K., he noticed something unique as the network unleashed one of its largest campaigns to date when launching the series.

“I recall driving into Los Angeles from Altadena, crossing the canyon roads. In the middle of Glendale, I saw posters for the show,” he remembers. “I thought, ‘Wow, they reached all the way out here. That’s cool.’ I also spotted the trailers at the cinema. It felt nostalgic, more like an event.”

The extensive campaign yielded success both critically and among viewers. The premiere broke FX’s domestic and international streaming records. This success continued with the Emmy nominations, as creators Justin Marks and Rachel Kondo told the L.A. Times’ Tracy Brown it was “surreal” for “Shōgun” to secure 25 nominations. These included nods for series, acting, production design, costume design, sound, editing, and visual effects.

“We don’t do this for the awards; we do it because we love the work,” says McCurdy. However, he expressed eternal gratitude to production designer Helen Jarvis and costume designer Carlos Rosario, who brought an extraordinary level of quality to the screen. “The costumes, the set design, everything was incredible to photograph every day,” he admires.

The series set up shop in British Columbia, aligning with the lush Canadian backdrop for outdoor scenes, such as an old cedar mill doubling for the fishing village of Osaka. Mammoth Studios in Burnaby housed the elaborate sets for palace quarters, ceremonial halls, and samurai houses. Cinematographer Christopher Ross set the visual tone in the first two episodes, and McCurdy expanded this to support a compelling narrative of civil unrest among five council regents. The power struggle primarily revolved around two characters — Toranaga (Hiroyuki Sanada) and Ishido (Takehiro Hira).

McCurdy also brought to life the budding relationship between a captured Englishman, John Blackthorne (Cosmo Jarvis), and an interpreter, Lady Toda Mariko (Anna Sawai). Their romance peaks in Episode 4, “The Eightfold Fence.” Working with director Frederick E.O. Toye, they focused on a theme of romance. “That gave us a shorthand for a gentler and softer visual language, where the camera movements always tried to bring them together,” McCurdy explains.

The intimate moments, such as their conversations atop a rocky outcrop and in a softly lit natural pool, were crafted with longer lenses and shared frames to emphasize their growing affection. “We aimed to subtly convey their bond, creating a wave of feeling rather than being overt,” he says.

However, their relationship takes a dramatic turn when Mariko’s husband, Buntaro (Shinnosuke Abe), thought to be dead, returns unexpectedly. “Episode 5 was the breakup, and we opted for more visceral, harder framing,” McCurdy notes. This stylistic shift is evident in a tense dinner scene where Blackthorne tries to outdrink Buntaro while sharing war stories. Buntaro goes on to demonstrate his archery skills by having Mariko stand in the pathway while he aims at the garden beyond. “The camera becomes more rigid and pointed then,” McCurdy details.

For Episode 7, “A Stick of Time,” which introduces Toranaga’s half-brother, a nearly monochromatic color palette was featured, creating an episode devoid of sunlight. “If not for the firelight, it’s almost a black-and-white episode,” McCurdy says. “In prep, Justin [Marks] mentioned ‘a mist rolls into town,’ symbolizing the prevailing mist for the rest of the series. We wanted to embrace the British Columbia climate, diving into the mist, rain, dirt, and mud. It was inspiring.” This painterly aesthetic was led by Japanese filmmaker Takeshi Fukunaga, who brought his sensibilities to the set. “He had a unique way of working with the cast, allowing them to chat in their own language, creating a comfortable atmosphere,” McCurdy shares.

In “Crimson Sky,” McCurdy aimed to “drive the Mariko story.” This involved showcasing “the weight the character earned through the season” by lensing a visual narrative centered on Mariko’s strength and connecting the camera to her perspective. “We treated Mariko singularly, especially in the great hall scene, and her actions stood out in every shot,” McCurdy illustrates. This culminates in a pinnacle moment when Mariko tries to lead her retinue out of Osaka, only to be stopped by castle guards. With each shot, including overhead views, the camera underscores Mariko’s bold ambitions, making her the focal point of the story.

Even with meticulous planning for each episode, McCurdy emphasized the importance of the performances, particularly in Episode 10 when Blackthorne invites Usama Fiji (Moeka Hoshi) to bid goodbye to her infant child sentenced to death as part of her husband’s seppuku. “The time between Episodes 4 and 5 and 9 and 10 allowed us to understand how to subtly play with the characters,” McCurdy reflects. “It’s crucial to respond naturally to the performance and avoid over-covering, which can complicate the editing process. The cast’s performances always guided our photographic choices.”

Source: L.A. Times