Shōgun

For Stunt Coordinator Lauro Chartrand-DelValle, the most important rule of stunt work and choreography is that there can be no action just for the sake of action – every sequence has to fit the story. From sword fights and flaming arrows to major battle scenes, open water storms and natural disasters, there is no shortage of diversity when it comes to the type of action in Shōgun.“I have 25 years of experience in Japanese martial arts, starting with karate, weapons and sword work, but I’m nowhere near what my Sensei is,” explains Chartrand-DelValle. He is referring to world-renowned and legendary Japanese martial arts expert Fumio Demura*. “I asked him if he would be willing to come up from Los Angeles to share his expertise and oversee the technical aspects of the training bootcamps we held for the actors and background performers prior to the start of filming.”

Collaboration with Japanese advisors was extremely important for historical authenticity as well as how characters of different statures and armies would interact with each other. The Stunt department included experts in Japanese sword work and archery, martial arts and Japanese weaponry. Japanese stunt performers were also brought in, not only to perform but to advise and help train the cast and extras. One such expert was the internationally renowned Hiroo Minami, Hiroyuki Sanada’s (“Toranaga”) Japanese stunt double. In addition to doubling Sanada, he helped to instruct actors and other stunt performers. With the amount of fight sequences and volume of performers, this collaboration was essential.Sanada is already a highly experienced action star, but on Shōgun, he also serves as Producer. He was integral to the stunts and choreography, attending rehearsals, coming in on his days off, staying on set to advise even after he had finished filming and fine tuning even the most subtle movements. “He’s not overpowering, he’s not pushy, he’s just very knowledgeable,” says Chartrand-DelValle.

The process of bringing a stunt sequence to screen naturally started with the script. But from a practical perspective, it was essential to prioritize rehearsal time for the stunt performers and actors. At the start of production, Chartrand-DelValle rented a dojo to begin training his team and to do assessments with potential extras and stunt performers. But going between the dojo and the studio was not sustainable. They transformed an empty space at the studio into a training room, which allowed Chartrand-DelValle to quickly move between training sessions and set and gave the actors more access to rehearsals and practice time. Once a choreographed sequence had been worked out in the training room with makeshift set pieces, they took it down to the actual sets to continue rehearsing.Chartrand-DelValle has a philosophy he shares with his stunt team. It’s simply, “no bullshit,” meaning he doesn’t want them to fake the moves. The other person knows the choreography, so it can be done safely. He says, “You watch so many shows with a guy swinging a sword around high in the air and his opponent blocks it up high. And I always say, ‘what are you guys doing up there?’”So, in Shōgun, the sword fights are a maximum of five moves, like a quick game of chess. Says Chartrand-DelValle, “There’s no need to extend it and go ‘click, clack and spin.’ These fights didn’t take place in Hollywood...they were brutal and deadly. The opponents went for the target. It was cut and kill.”

The weapons used in the series are authentic to the Sengoku period. The most commonly used weapon is the katana, a long Japanese sword. Also frequently seen is the wakizashi, a short sword used when fighting indoors, which helped to avoid hitting rafters, doors and furniture. Samurai were trained as individuals, rather than as an army, even though they could coordinate maneuvers on the battlefield.Women had more freedom in the Sengoku period than the following Edo period, and they too were skilled in using weapons to protect their household. But men were still considered the head of the family, despite a woman’s skill in weaponry. While it is assumed women fought with a number of weapons in 1600, it was most common for them to fight with the naginata, a long pole with a sharp, curved blade at the end. And finally, there’s the Japanese art of kyudo, or archery, which uses long arrows, sometimes with fire.Many of the guards would use kyudo to defend the palace or to protect their lords and ladies from ambush attacks on long journeys. *Fumio Demura recently passed away in April 2023 at the age of 84.

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The most important rule of stunt work and choreography is that there can be no action just for the sake of action – every sequence has to fit the story.

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Stunts and Choreography | FX Shōgun