‘Shōgun’ Star Anna Sawai: Lady Mariko’s Failed Escape Felt Like ‘Liberation’

Welcome to My Favorite Scene! In this series, IndieWire speaks to actors behind some of our favorite television performances about their personal-best onscreen moment and how it came together.

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“Shōgun” star Anna Sawai readily admits that watching herself on screen is not her favorite pastime. “Actors have this all the time, but they see little things that they wish they could change,” she shared over Zoom while discussing how she determined her favorite scene in the hit FX series.

Anyone familiar with the latest adaptation of James Clavell’s 1975 novel, directed by Justin Marks and Rachel Kondo, which has led this year’s Emmy nominations with 25 nods, might guess Sawai would highlight something from the penultimate episode “Crimson Sky.” In this episode, she delivers a tour-de-force performance as Lady Mariko. Nevertheless, the specific sequence she chose, where her character attempts to leave the royal castle under Lord Toranaga’s (Hiroyuki Sanada) orders to prove Lord Ishido (Takehiro Hira) and Lady Ochiba (Fumi Nikaidô) wrong, is more unconventional than her more celebrated moments in the episode.

“The way that they edited this scene still gets me really emotional,” Sawai said. “I think it’s because I still feel that emotional stuff that Mariko was going through. Even though it’s such an emotional scene and doesn’t end peacefully, there was so much clarity within me going into it, and also finishing it. And that’s exactly what the character is doing. Although she is physically defeated, when she’s walking back, there’s a slight change in her expression. This was all part of the plan that only Toranaga-sama and she knew. There’s a liberation and clarity in that.”

Sawai breaks down the elements that led to tortured Mariko finding fulfillment at violent costs and considers if there’s more to explore from the tragic character’s story in future seasons of “Shōgun.” She revealed that the series renewal came as a surprise. “They initially said it was a limited series,” she noted with a smile, “but then they said, ‘We’re going to do two more.’ It’s a testament to the amazing job done in Season 1.”

The following interview has been condensed for length and clarity.

IndieWire: Did you shoot the show sequentially? Was this courtyard scene filmed toward the end?

Anna Sawai: Generally speaking, “Shōgun” was shot block by block, starting with episodes one and two, then three and four. By the time we were doing nine and 10 (which I’m barely a part of), I had experienced all eight episodes. It helped to know her journey. While we were shooting nine, my very last scene was shot on my last day. I can’t recall exactly, but I’m pretty sure we had already shot several scenes from the first half before the one where I leave the castle with the sword.

Undoubtedly, it sounds intense. I’m sure it was an intense three or four weeks. However, it helped create the character because, as I declared myself in front of Ishido, I built it up as I went into the final moments.

Earlier in the episode, Mariko metaphorically takes her mask off, being openly defiant, but in this scene, it’s on again. Why?

Right, Mariko has been silent for eight episodes. She enters episode nine, telling the council what she will do, which is already surprising. Then, in the next scene, she physically tries to go through. It was another layer of what she said she’d do, but this time showcasing it. It might sound like a superwoman, but our intent was realism. She fights the men blocking her, but it doesn’t end as people might expect. Yes, it was her physical response, but it also ends in defeat. Still, she makes a powerful statement by choosing to go back and take her own life.

Was this sequence treated as an action scene?

Oh, imagine! I would be freaked out. For the arrows, it was technical. I would step knowing there would be an arrow in post-production, and then another take where the arrows were already stuck in the ground. Nothing was dangerous. We treated it as choreography. The stunt guys probably spent days on it. I had one day to memorize it, rehearsed it on the day, and then went into shooting.

I have a bad memory, but I believe we did all the men fighting on the first day. The second day was Mariko fighting and then falling. I never think, “This is just action,” because it’s always about something within the character. Fighting and then falling to the ground organically enhanced the performance. The cry on the ground wasn’t planned; I was trying to contain my cry, not wanting to seem weak, but it enhanced the performance.

Was playing Mariko immersive? Did you feel her even when you weren’t filming?

In the beginning, it was a lot of reading and research. But after the first half, Mariko was in me, even when I wasn’t working. I wasn’t as joyful; I dreamt about similar things. The character lives within you. Towards the end, it felt like a natural flow. I didn’t enjoy it, but I understood why I was reacting as I did because I was deeply within the character.

Did anything physical help guide you in the scene? A prop or costume?

The costume, designed by Carlos Rosario, was restrictive but helpful in understanding the women’s experiences. Every morning, wearing the costume helped me enter the scenes. We had to loosen the sleeves for movement. Also, for safety, Carlos added proper soles for action sequences. And the swords, though rubber or wood, had some weight to them.

Production designer Helen Jarvis constructed the castles; walking into a place with four walls and a huge gate felt so real. Even with blue screens, actors must pretend, but feeling real entrapment changes everything.

Do you recall any discussions or notes with director Frederick E.O. Toye about this scene?

Fred and I already had a good relationship from episodes four and five. He’s clear about what he wants and never exhausts the actors. He ensured we had enough fuel for scenes and made sure we felt good about it, even if he was just on the monitor.

When Season 2 was announced, did you think you might return as Mariko?

Everyone believed it was final. For me, even more because of Mariko’s final death. The creative team’s decision to renew was surprising. Mariko’s story concluded beautifully as in James Clavell’s novel. I’m excited about Season 2 but feel FOMO, knowing I won’t be back on set. However, I’m eager to see what they create next.

Source: IndieWire