Keanu Reeves 47 Ronin

Keanu Reeves 47 Ronin

Cast: Keanu Reeves, Hiroyuki Sanada, Tadanobu Asano, Rinko Kikuchi, Ko Shibaska
Director: Carl Rinsch
Genre: Action, Adventure, Fantasy
Rated: M

Synopsis: Keanu Reeves leads an all-star international cast in the action-adventure 47 Ronin. After a treacherous warlord kills their master and banishes their kind, 47 leaderless samurai vow to seek vengeance and restore honor to their people. Driven from their homes and dispersed across the land, this band of Ronin must seek the help of Kai (Reeves)"a half-breed they once rejected"as they fight their way across a savage world of mythic beasts, shape-shifting witchcraft and wondrous terrors.

As this exiled, enslaved outcast becomes their most deadly weapon, he will transform into a hero who inspires this band of outnumbered rebels to confront the evil taking over their land and seize eternity.

Based upon the epic story that has become one of Japan's most enduring legends, this extraordinary tale of unbelievable courage has its origins in the early 18th century, when 47 noble samurai honored the untimely death of their master by avenging him.

In this groundbreaking reimagining of the national legend of Japan"a fascinating tale that has been passed along and elaborated upon through different interpretations in various media across the ages"the legend of the Ronin's ultimate sacrifice and undying honor is now reborn for an entirely new generation.

47 Ronin
Release Date: January 9th, 2014

About the Production

Half-Bloods and Mythical Creatures: Who's Who in 47 Ronin:

Kai is an outsider in an ethereal 1800s Japan, a world of intense brutality and undeniable beauty, a time when history and fantasy meet. When his forbidden love is stolen from him, he is left broken and lost. Navigating a breathtaking landscape populated with seductive witches with nightmarish powers, mythic beasts and a deadly secret society of demon monks, Kai must join a brotherhood of outsiders on their shared mission of revenge. Below is a brief guide to those who play a part in this fantastic reimagining of an ancient world:

• Kai (Keanu Reeves) is an orphan who grew up in the village of Ako, where he was rejected for being a half-blood. Trained as a child by supernatural creatures called the Tengu, Kai fled when he realised that he did not want to become like them. Rescued from the forest by Lord Asano, he is an agile fighter who is secretly in love with Asano's daughter, Mika. When his master is tricked into an early death, Kai joins Oishi and the Ronin (masterless samurai) to seek vengeance upon the treacherous Lord Kira. Little do they know that their new leader fights with the power of a demon and holds secrets that will change their destinies.

• Lord Asano (Min Tanaka) is a feudal lord who rules the Ako province with a strong-yet-fair fist. He and his samurai came upon 13-year-old Kai in the forest and took Kai in when the half-blood was but a child. Asano has witnessed the growing attraction between his daughter and Kai, but tradition dictates that this union shall never be allowed in this lifetime.

• Mika (Ko Shibasaki) is Lord Asano's daughter and has been in love with Kai ever since they met as children. She will do anything to protect the stranger shunned by almost everyone in her village, even if it means being forced to marry Lord Kira to save Kai's life.

• Oishi (Hiroyuki Sanada) is Lord Asano's top-ranking samurai officiant. When Asano is forced to commit ritual suicide"after he is falsely accused of attacking fellow feudal Lord Kira"Oishi and his fellow samurai are forced to live as Ronin. Traveling the countryside for several years, Oishi gathers the Ronin to help avenge their master's death. As he realises what he must do, Oishi sees that the last person he wants to join their ranks is the very warrior who he needs most: Kai.

• Lord Kira's (Tadanobu Asano) ancestors sacrificed their lives to put the Shogun's family on the throne. While Kira has a place by the Shogun's side, he is feverishly jealous that his master has chosen to honor Lord Asano's province of Ako. With the help of the Witch, Kira plots to bring down Asano, marry Asano's daughter, Mika, and take control of Ako province…watching his ill-begotten empire grow piece by piece.

• The Witch (Rinko Kikuchi) is an evil, shape-shifting ancient creature who does Lord Kira's bidding and uses reality as her plaything. Kira commands the seductive siren to use her powers to transform into other people and creatures to help him bring down the house of Lord Asano and achieve his goal to dominate the country. Her gleaming blue eye remains in any form that she takes.

• Chikara (Jin Akanishi) is Oishi's 16-year-old son, a young man who yearns to be an honorable samurai like his father. Kai secretly trains Chikara in the ways of the Tengu and teaches him unconventional fighting techniques that will one day save him. Young Chikara accompanies his father to help the Ronin avenge their master's death.

• Shogun Tokugawa Tsunayoshi (Cary-Hiroyuki Tagawa) is the lord of the provinces and master of all Japan. Lord Asano welcomes the Shogun, along with the other daimyos (feudal lords), to Ako and hosts a gathering to display solidarity between the clans. In honor of the Shogun's visit, Asano holds a tournament between the clans' best fighters. Yet, disgrace will come soon enough to Asano, and a price must be paid.

• The armored giant Brute (Neil Fingleton) who fights for Lord Kira is clad in battle gear inspired by H.P. Lovecraft's most horrific delirium. This virtually indestructible warrior stands almost eight-feet tall in his armor, rides a monstrous warhorse and wields his black sword with lightning speed. It's thought that no one of this Earth can possibly stop him…not even Kai.

• Commanded by the Tengu Lord (Togo Igawa), the Tengu monks are supernatural creatures that live in the Tengu Forest, also known as the 'sea of trees." They raised Kai after his mother abandoned him as a baby and taught him how to fight at the speed of light. When the Ronin seek revenge for their master's death, the Tengu are the creatures to whom they come for the only weapons that could possibly take down Kira's massive, unstoppable army.

• The tortured Ogre (Neil Fingleton) makes his home on a man-made Dutch island, which is comprised of European vessels and hosts a trading post that is a labyrinth of vice and iniquity. This devil-like demon has a huge red body and fights helpless prisoners in an arena on the island. Next up on his fight-card list? Kai.

• Foreman (Rick Genest) is the master of the fantasy freak show whose entire body is illustrated with gothic body art. A subversive outlaw who runs a fight den that pits man against monster for sheer entertainment, he gets more than he bargained for when Kai enters the ring against the Ogre.

Seizing Eternity: The Ronin Are Reborn

When director Carl Rinsch read the original treatment of the script, he admits he was intrigued by the timeless love, elaborate settings and fantastical creatures that were set against an actual historical backdrop. Recalls the filmmaker: 'I knew a bit about the story of the Ronin, the traditional history of it, but of course this is a creative iteration of that." After meeting with Universal to discuss, Carl Rinsch was sold on the project that he wanted to make as his feature debut.

For producer Pamela Abdy, the script offered a unique tale of a savage world and a man who would sacrifice everything to save it. She reflects: 'The story's themes of honor, revenge and love are universal ideas, and we can see ourselves in these characters and their emotions, yearnings and injustices. Through our hero's journey, we are transported into an imaginative fantasy adventure. But at its heart, the film taps into a basic human desire to right a wrong being done to you."

Not only were the filmmakers seeking to craft a production that would entertain audiences, they were committed to honor the national story of a country. The 47 Ronin legend is beloved in Japan; indeed, banks and schools close each year to honor these men who gave their lives for their country. The story has been passed down through the generations, and tradition not only allows, but encourages the story of the Ronin to be elaborated upon through different media, via creative accounts known as Chūshingura. Each telling and interpretation retains the historical construct of the Ronin, and tradition invites artistic embellishments to it.
Discussing this time-honored method, Carl Rinsch offers: 'The tradition of Chūshingura is the retelling of the historical events of the 47 Ronin. It was our goal to maintain and respect the fundamental emotions and themes of the true history, but to view it through a lens that made it relevant to contemporary audiences. The global audience for movies today speaks in a vernacular of fantasy, science-fiction and superheroes. For myself, the intent was to take Japanese Chūshingura and give it a broad international reach by presenting it in a fashion that utilises this new Hollywood palette."

Producer Eric McLeod agrees with Pamela Abdy and Carl Rinsch about being fascinated by the tale passed down through generations and honouring the collective story of a country. The producer notes: 'What inspired me about working on 47 Ronin was that I not only enjoy the historical aspect of the film, but I also enjoy the fantasy aspect, the scope and the world creation of it."

When researching the film, the director drew inspiration from the art of such masters as Miyazaki, Hokusai and Hiroshige. Comments Carl Rinsch: 'When I studied these paintings, I saw that there was a whole fantasy world right there. And I thought, -If I can express this world, then we're onto something.'"

From there, Carl Rinsch and his team began to investigate the fantasy aspects of 47 Ronin, including creatures that have long been a part of Japanese folklore. They were amazed by the voluminous libraries they found. Notes Carl Rinsch: 'You have the Yōkai; the Oni, which is a big Japanese ogre; the Tengu warriors, which are bird warriors. There's this menagerie of fantasy characters that gave us such exciting directions to explore."

As the filmmakers locked the shooting script and began preproduction, they found that the key was balancing scale with character. Shares Pamela Abdy: 'The story embraces the emotions of love, pain and sorrow, and the story needs to be quiet in those moments. Then when we need to, it has to be big and bold as well. Tonally, we tried to balance action and spectacle with characters coming together and relating to each other."

Discovering Kai: Keanu Reeves Comes Aboard

One of the earliest efforts involved in casting 47 Ronin was to find a performer with the presence, physicality and stamina to play the demanding role of the film's hero, Kai, a figure of two worlds. Keanu Reeves, beloved by worldwide audiences for his work in blockbuster epics such as The Matrix trilogy, in which he gave a human center to a complex and imaginative fantasy world, was an ideal choice and became a true partner in the production.

'We sought Keanu very early on," states Pamela Abdy. 'He was on board almost two-and-a-half years before we started shooting and has always been a partner through the whole process. He's not only the right actor but has been such an enthusiastic contributor to many aspects of the production."

'I was attracted to the world it created," shares Keanu Reeves. 'I related to it as a Westerner. It's a film that has big, universal themes such as honor, revenge and love." In fact, Keanu Reeves worked on developing the script with writers Morgan and Amini, actually before meeting with Carl Rinsch for the first time. He shares: 'Chris and Hossein have this incredible ability to bring this amazing version of the Ronin to life that straddles the real and the fantastic."

Upon sitting down with Carl Rinsch, Keanu Reeves was struck by his vision for the project and his fluency in the visual language needed to bring the story to life. The performer commends: 'Carl Rinsch's always had a connection to the film that is based in emotion, and he's been open to sharing and collaborating. He's a terrific stylist, and he's been great at taking this fictional make-believe world and making it a real one."

 Carl Rinsch was equally as enthusiastic about working with his leading man. He enthuses: 'Keanu Reeves is more than just an actor. He's a collaborator on every level. He's somebody whom I can turn to and ask a question, get a thoughtful response, and it doesn't necessarily have to do with his character."

For this reimaging of the 47 Ronin tale, and in keeping with Chūshingura, the character of Kai is a new addition to the canon. An orphaned half-blood who trusts no one, Kai symbolises the eternal outsider, struggling to fit into a culture rooted in its deep sense of nationality. Keanu Reeves says that Kai's tale is familiar to many: 'On this journey, Kai strives to be included and accepted; that's a story a lot of people can relate to. This kind of immigrant story is relatable: that yearning for acceptance while retaining your individuality." For the performer, it is an honor to introduce the tale to a global audience. He reflects: 'Like all great stories, this one works in the sense of its universality."

An International Ensemble: Supporting Cast

For Carl Rinsch, the producers and Keanu Reeves, rounding out the cast meant painstakingly choosing the best and the brightest of Asian cinema. From action veterans and feted Oscar® nominees to rising stars on the pop music scene, the filmmakers handpicked an exciting cross section of performers for the epic feature.

A staple in Japanese films who was most recently seen in the worldwide blockbuster The Wolverine, Hiroyuki Sanada has received six nominations for Japanese Academy Awards, and has won twice. For the cast and crew, the selection of Sanada as Oishi, the leader of the samurai, meant this Western twist on the story of the 47 Ronin had earned the seal of Japanese approval. Hiroyuki Sanada bore the responsibility of making sure this new take on the beloved tale stayed true to its source, even as it introduced fresh and fantastical elements.

Hiroyuki Sanada grew up with the legend and appreciated the opportunity to explore a retelling of it. He shares: 'I first saw it on television when I was about seven. My brother and I used to pretend we were the characters. When I became a child actor, I always wondered when I would play Oishi. I waited a long time, and to be offered the role in an American film was quite a welcome surprise!
'There was a lot of pressure for me because Oishi has been played by a lot of actors I admire," Hiroyuki Sanada adds. 'But this version has a lot of differences to the traditional one. The emotion and intention are the same, but Oishi is much more human here, with weakness, doubt and setbacks. There's a balance between authenticity and fantasy, and this is a wonderful opportunity to introduce the story to a younger Japanese audience, as well as Japanese culture to the world. There's something in there for people of every country. It's not just a Japanese story. It's about respect, friendship and love."

Having worked on several Western films and with multiple American filmmakers, Hiroyuki Sanada reflects on the experience of shooting with Carl Rinsch: 'On the first day of working with Carl, I realised that he not only watched and listened, but he has a gift for feeling the emotion of a scene."

Carl Rinsch provides insight into why Sanada was chosen to play the warrior who fights alongside Kai: 'Oishi's character is a lamp in daylight. You don't know how strong he is until it gets dark. I think Hiro Sanada is such a stoic and powerful performer; he explodes into action when things get rough. He can fight like nobody you've ever seen before."

For his part, Hiro Sanada is just as enthusiastic about the experience of collaborating with the film's leading man. 'From the rehearsal period on we spent a lot of time together, some six months," he reflects. 'We prepared dialogue and practiced a lot of fight scenes, so physically and mentally we shared a lot. Keanu Reeves is always very calm and respectful. I respect him very much, as an actor and as a person."

Keanu Reeves returns the kind words with a concise: 'I didn't have a brother before, but I have one now."

Producer Pamela Abdy extrapolates that Hiroyuki Sanada was a mentor for those on set: 'Hiroyuki Sanada embodies the role of Oishi. He's a wonderfully generous actor and has been so incredibly helpful to us in embracing the world and understanding the culture. He handles everything with grace, style and elegance, and he brings that to his performance."

To play Mika, Kai's forbidden love interest, the filmmakers wanted an actress who could embody a regal princess who's willing to defy tradition. They turned to one of Japan's musical phenoms, the multitalented Ko Shibasaki. Carl Rinsch reflects: 'Ko Shibaski was somebody I did not know before we started the process. She has a huge career as a singer and has a huge facility for acting. She has done an amazing job, and I expect she will go on to be even more legendary in every avenue she pursues."

Keanu Reeves sums up the relationship between Kai and Mika: 'The outsider and the princess: an impossible love. Because it's jeopardised and unfulfilled, Kai's yearning for Mika is what drives a lot of this story." Working with Ko Shibasaki has been a highlight of filming for Reeves. He shares: 'Ko Shibaskaski is such a rock star. She can do anything. She has such vulnerability, elegance and beauty in her performance."

In taking on the role, Ko Shibasaki saw an opportunity for Hollywood to tell a Japanese story from a fresh perspective. She states: 'Japanese people tend to be shy and don't always express their opinions openly. Carl Rinsch always encouraged me to feel and express things more, and to bring out my natural expressions. He's a kind, broad-minded person, which is why I think it was so easy to dive right in and take risks."

Mika is desired not only by Kai, but also by the villainous Lord Kira, who seeks to claim all the land that belongs to Lord Asano. To portray the antagonist, the filmmakers brought aboard Tadanobu Asano, who has crossed the globe with one of his breakout, signature portrayals in Ichi the Killer and rocketed to international fame as Thor's fellow Asgardian, Hogun, in both Thor and Thor: The Dark World.

Lord Asano explains a bit about his character's motivation: 'Mika is a very important person in Ako. By controlling the princess he would be able to obtain Ako, which is something that he has always wanted. On a more personal level, he sees in Mika a quality of love that he doesn't possess; he wants to somehow control that power to love that she symbolises."

Asano has long had a connection to the 47 Ronin story. In fact, he shares a name with the feudal lord at the heart of the story. The performer offers: 'When I was growing up, the story would appear very often on television or in a film and my grandmother would say, -You're an Asano too.' It's ironic that I ended up playing the opposite role!"

Instead, as the villainous Lord Kira, Asano claims he found a simple way to identify with his dark charge. He explains: 'He might appear to be power-mad and arrogant, but if you change your perspective a little he can be seen as a very charming man. There is, of course, something fundamentally wrong with him, but that makes him a very interesting character to play."

Asano believes the film should have a life of its own separate from the many Japanese interpretations. He explains: 'Because this is such a popular story in Japanese culture, it has been portrayed in many different mediums and in many different versions. All of these have followed a set of unspoken rules about the story. Carl Rinsch is from a different culture, so he brings a completely new perspective and he is able to distill the story down to its universal themes. He has created something original that is true to the themes of the story and also breathes new life into it."

While Asano and Keanu Reeves do not share any scenes, Keanu Reeves enjoyed watching him work. He laughs: 'He's such a good bad guy. He treats life like everything belongs to him. I saw this close-up of him watching some dancers perform, and it was like he was saying, -Of course you're dancing for me. Everything is for me: the moon's for me; the sun's for me.'"

Oscar®-nominated Rinko Kikuchi, who came to worldwide attention with her stunning performance in Babel and was most recently seen in Pacific Rim, discusses her exposure to the legendary tale: 'I've known this story since learning about it at school, but this film will be quite different from versions Japanese audiences have seen before. The creatures, sets and characters are totally new." Brought onto the production to play the duplicitous Witch, the actress knew there would be challenging days ahead. 'My character doesn't exist in the original version, but she adds a fantasy element to this story and I had a lot of fun with it."

Rinko Kikuchi was thrilled to play such a strong role. The actress sums: 'It's fun to play such a wild female. Carl Rinsch told me my part would be provocative, sexy and wild. The Witch is a shape-shifter who is clairvoyant and play tricks on others, but she is not a typical witch. She has the heart of a woman, but she just follows her instincts."

Carl Rinsch's goal has been to show audiences a side to Japan none have ever seen, while simultaneously paying homage to the country's cultural traditions. 'The Japanese want to see something new, too," Rinko Kikuchi adds. 'Rather than a traditional story performed and created just by the Japanese, we would love to see this traditional story from a new angle. This film strikes a perfect balance between what is universal and something totally creative and new."

Jin Akanishi"who is also a phenomenon in his native Japan, where he's been heretofore known as a pop music star"plays Chikara, Oishi's son. Pamela Abdy discusses the character: 'Chikara was forced to become a man at a very early age. Oishi, like any parent, just wants to protect him." Of his on-screen portrayer, she adds: 'Jin has done a great job with the role. He's learned a lot on the film, and I'm thrilled we cast him."

Jin Akanishi relished the chance to join the production. He elaborates upon the story of his character, who is schooled by Kai in the fighting style of the Tengu: 'Chikara starts off as a boy who wants to be a samurai. Throughout the story, he grows up. He's the only one who really understands Kai and treats him as a friend."

Pamela Abdy recalls asking Akanishi whether he and his friends were familiar with the tale of the 47 Ronin: 'He said, -No, it's something our grandfathers and fathers talked about.' But as we walked him through the world of the film he said, -This is cool; my friends will love this.' We have an opportunity to educate the younger generation in Japan about this story because we're giving it to them in a world they can relate to."

For the younger members of the cast on set, there was much to learn from their counterparts. 'Sanada-san is diligent," commends Akanishi. 'He cares about everybody and every little thing. He pays attention to how we wear our costumes and how we move because he knows so much about Japanese culture. He's been incredibly helpful and supportive."

While Akanishi plays the youngest of the outcasts, the remainder of the principal samurai warriors was populated by Japanese performers Masayoshihaneda as Yasuno, Hiroshi Sogabe as Hazama, Takato Yonemoto as Basho, Hiroshi Yamada as Hara and Shu Nakajima as Horibe. Masayukedeal came aboard as Isogai, while Yorick Van Wageningen portrays the Dutch Island's Kapitan and Gedde Watanabe portrays the Troupe Leader, who enables Oishi's men in their plan to attack Kira's soldiers. Riku, who is Oishi's wife and Chikara's mother, is played by Natsukikunimoto.

Finally, in addition to the much respected Min Tanaka, who portrays Lord Asano, longtime performer and martial artist Cary-Hiroyuki Tagawa joined the production as Shogun Tsunayoshi, whose word in this feudal land is unquestionable law.

Budapest to London: Sets, Location and Design

The shoot for 47 Ronin was split between studio work in Budapest and filming on expansive back-lot sets at Shepperton Studios near London. Indeed, the goal for the production team was to create a romanticised vision of Japan from scratch. Producer McLeod sums: 'A lot of people who haven't been to Japan have a mind's-eye vision of what Japan might look like. This film takes that to another level: it's greener, brighter."

Reflects Pamela Abdy on the challenges that were in store from day one: 'You couple Chris and Hossein's script with making the film in London and Budapest, and trying to re-create feudal Japan. It was a multilayered process that took many talented people to pull off."

The filmmakers knew that in order to do the production justice, they would need to work on a grand scale. At the same time, they needed to capture the idiosyncrasies of life in 18th-century Japan while honoring their desire to bring a never-before-seen take on the national tale of this country to the big screen.

Carl Rinsch discusses what was required: 'We did incredibly diligent research, making sure we knew the culture and then paying respect to it by making it our own and twisting it in a way that would make sense to any culture. However, the Japanese have codified logic to seemingly everyday tasks; the Westerner always has to be careful not to offend. Something as simple as making sure all the kimonos are worn left over right becomes hugely important. Only after death do you wear it right over left. If you are not careful, you will end up with a cast of walking dead."

'Our sets are big," reveals Pamela Abdy. 'They're elaborate. They have visual-effects set extensions. Then there's the detail of the set dressing, which is as authentic as possible, even down to the little details like the tea, the rooms, the tatami mats. There's a scene where Mika is putting makeup on to get ready for her wedding to Lord Kira. The detail in everything, down to the brushes and the way that the makeup is actually placed within the bowls"how it's carried, the colors, the way it's put on, the very structure of the lipstick"there are a million of those elements to get right in every department."

Two-time Oscar®-nominated production designer Jan Roelfs, who most recently designed the globe-trotting juggernaut Fast & Furious 6, and his crew set about creating 47 Ronin's iconic locations. In Budapest, his team built huge sets for the Ako courtyard, Dejima Island and the Tengu Forest. While at Shepperton, they constructed the Ako exterior and Kira's fortress for the film's grand finale.

McLeod takes a moment to commend the team's work: 'The detail is extraordinary. On the Ako set, the trees were in full bloom with cherry blossoms. That, itself, is such an iconic Japanese vision. The stark contrast between Ako's fortress, with its beautiful cherry blossoms, and the darkness of Kira's fortress, lends itself well to the story's journey from beginning to end."

In sum, 15,000 artificial cherry blossoms were hand-tied to each tree, and the trees themselves were so big that they had to be dismantled at source and shipped to the U.K. in sections. The sets were also enhanced with bamboo plants"300 in total, each about 50-feet high"which had been shipped from Italy, as well as 3-foot-high bonsai trees, some of which were, staggeringly, more than 100 years old.

As an example of Roelf's team's work, Keanu Reeves walks us through the final act of the film, a siege on Kira's fortress that was shot on the back lot at Shepperton Studios: 'The 47 Ronin have gained the cooperation of the acting troupe who are supposed to perform that night for Lord Kira. We gain access to the castle and begin to strategically place ourselves within it. And there's this orchestrated moment when we are going to try and take the life of Lord Kira and free the princess."

The set was absolutely ideal, says Asano. 'It was perfect: ugly, cold and bare. In other words, exactly right for the character of Kira."

Keanu Reeves admits to being overwhelmed by the level of detail that went into building the film's sets, in particular, the work done on Kira's fortress. 'We had such fantastic sets," he proudly says. 'And so much has been achieved in-camera. There are set extensions, special effects and creatures, but we had these big sets. It's old-style moviemaking: huge sets, lots of extras, costumes, lights, cameras, action. You're getting to see the fun of how the few"the Ronin"get to take on the many. There's arrows and fighting and swordplay, and it takes place through all these different courtyards."

In our version of the legend, Kai grew up in the Tengu Forest, a set constructed by Roelfs and his team in Budapest. Abdy was particularly taken with this set piece. She enthuses: 'The Tengu Forest is spectacular. It's probably the most fantastical element in the film, set-wise, and it has so many elements to it. It's a way for the audience to dive into this mysterious place where Kai is from."

Akanishi concurs, offering that his character's first battle scene was very intimidating: 'The cave, especially, was very strange and scary-looking, and I was impressed by how much detail the crew had put into it. It was incredibly intricate. It was the first set for me, and seeing it for the first time, I was amazed."

In Budapest, the production built the surroundings of Dejima Island, a Dutch-owned trading post that was subsequently consumed by land reclamation in the bay of Nagasaki. It is here that Kai and Oishi trade blows, when the latter man tries to spring Kai from captivity.

McLeod believes there's no one better than Roelfs to visualise the world of 47 Ronin. He commends: 'Jan's thought process, not only for the design of the film, but how it works with the complexities of the stunts and the visual effects, took everything into account."

Birds of Prey: Stunts and Martial Arts

Stunt coordinator Gary Powell, who has served in that capacity on films from Skyfall and Quantum of Solace to Unstoppable and The Bourne Ultimatum, was charged with manning the fight teams. Says Carl Rinsch: 'Gary Powell did an incredible job. We wanted to get as much on camera as we could of the fighting, and he led the stunt team to incredible results."

Keanu Reeves is no stranger to Asian fighting styles, having learned several hand-to-hand martial arts for his role in the Matrix trilogy and in his directorial debut of Man of Tai Chi. However, training for 47 Ronin meant learning Japanese fighting styles that involved weaponry. He shares: 'I started basic katana sword training before production and did about six weeks of that, laying the groundwork."

Kai's fighting style blends basic, traditional elements with a mythical style of fighting unique to the Tengu masters. As well, it is informed by his time in captivity on Dejima Island, where he's turned into what Keanu Reeves describes as a 'fighting dog." The performer elaborates: 'Kai brings all these kinds of elements of watching samurai, learning the Tengu sword techniques and then pit-fighting techniques."

Keanu Reeves shares a pivotal scene at Dejima against Oishi, where the freak master of ceremonies watches it all unfold: 'During that fight, we're getting to know each other through styles and through intention. Kai has lost his mind, because he's been in the killing room for a year and has been turned into a killing animal. But Oishi brings him back."

Quite skilled with swordplay himself, Sanada remembers rehearsing this particular scene for weeks. The performer explains: 'Oishi is a sword master, but at that time, Japan was peaceful, so a lot of samurai never used their swords. Kai was brought up in Tengu, and his style of fighting was wilder. During the course of the journey, Kai and Oishi learn each other's fighting style."

Keanu Reeves says Sanada helped when it came to learning the art of the samurai sword. 'Sanada-san is high-hand, high-bar," he enthuses. 'He's had classical training with the sword. For him, everything must have meaning. He doesn't want to just have action for action's sake. Each strike flows into the next, and he's very cognisant."

On the Dutch Island of Dejima, Kai encounters another fantastical creature, the Oni (ogre), played by Neil Fingleton (X-Men: First Class), who also plays Kira's gigantic Brute soldier in the beginning of the film"thus allowing Fingleton his second fight of the movie against Reeves. Standing at an impressive 7'7", Fingleton is Britain's tallest man.

Keanu Reeves believes that this was one of the toughest fights of his acting career: 'That's the challenge. How do you fight someone that tall? In terms of attack, for me it's about working high and low. You go for the feet, you try to get inside. Neil's a professional athlete and has command of his physical skills, even if he started without much experience in stunt fighting."

Neil Fingleton shares his experience of being the biggest man on set: 'I've always been very proud of my height. Keanu's a good guy, and it was fun getting to know him. With the fights, it was about understanding how each of us moves, and I guess it was tougher for him because he had to fight looking up." He pauses. 'I'm looking down, but I'm used to that!"

The outcast samurai weren't the only men to get in on the action. Akanishi admits he was thrilled to learn the physical side of his role. 'I practiced sword fighting and horse riding, and I had never done that before," he enthuses. 'It was fun, and they are good things to know."

Dreaming of Ancient Japan: Visual Effects of 47 Ronin

Academy Award®-nominated visual effects supervisor Christian Manz and award-winning effects house Framestore were charged with creating the fantastical creatures that appear in 47 Ronin, as well as the background extensions for the film's magnificent sets.

Christian Manz advises that Carl Rinsch's approach was fundamentally artistic. He states: 'In initial discussions with Carl Rinsch, we talked about the craft and creativity more than the technical side. I was drawn in by seeing all these beautiful pictures he showed me. He was very open to listening to other people's ideas and wanted everything to look amazing."

A director who cut his teeth in the world of commercials, Carl Rinsch's influences came from multiple sources. Still, the two men kept referencing one name. 'We talked about the film looking like a live-action version of a Miyazaki film," recalls Manz. 'The challenge was to make it feel that everything is of that world. We wanted the design to feel grounded, but with the hint of the fantastical running through it. It's a Japan that everyone thinks existed, but likely only existed in Hokusai prints."

Christian Manz worked closely with Roelfs and his team to enhance the practical work that the production designer achieved. From extending Ako's multiple courtyards and paddies to creating a dark and dramatic backdrop for Kira's fortress"one placed atop snowy mountains and amid plunging ravines"the department worked around the clock.

Certainly the most obvious work of Manz's department will be on the film's fantastical creatures: the Witch's dragon, the Oni of Dutch Island and the fearsome creature called Kirin. One of the film's most spectacular sequences"a high-energy hunt in a forest to take down the Kirin"opens the film. Abdy laughs: 'It's our big car chase. Obviously, we don't have cars in this movie, so how better to create that pace and vibe than with a big, giant creature in the middle of the forest? The Kirin has energy, power and movement."

For Christian Manz, that scene was the most complex action piece throughout the production. He shares: 'The whole idea is that it's a majestic beast that's been poisoned and gone rabid. It's been one of the biggest challenges: to design the creature and work with the stunt team and the production design team to fit it into the scene."

Making the sequence work meant getting the action beats precisely right.

Explains Christin Manz: 'It's all about designing a path where the Kirin will be, making sure that the actors are looking at it and making sure that there's some real-world interaction with the physical creature. We needed to do this so that later on, when it could be put into the scene and people are reacting to it, it comes off as a believable element."

Sanada says the scene is an essential moment in the adventure. 'It establishes that this is a samurai film, but with grand elements of fantasy," he explains. 'With the Kirin monster you explain the kind of taste the film will have. You also come to learn about Kai's character, because he has spiritual power and fighting skills. For all of the actors, it was very hard to play, because we could never see the real Kirin there. Acting and imagination became the only weapons, and we had to make sure that the audience believes it."

For Neil Fingleton, playing the Oni in his pivotal fight scene with Kai at Dejima meant accepting the realities of acting for visual effects. 'Basically I was in a carrot suit for about a week, which was not a good time," he muses. 'The Oni's got a sickle and a ball and chain, and he's this big monster. It was a great fight, though Keanu beheads me at the end, which was not cool for me."

Christin Manz explains the practical work that went into achieving the pivotal scene between Kai and the Oni: 'Gary Powell created the fight between Keanu Reeves and Neil Fingleton. Essentially, Carl directed that fight with the real guys there, and we overlayed Neil Fingleton with our creature later on."

With the help of Christin Manz's effects team, in postproduction, the Oni became a giant, red-hued fighting ogre. Rinsch walks us through the process: 'Neil Fingleton wore a red tracking suit and spandex, and we used him as our base. Then we built our CG character on top of him, so that he was fighting with Keanu Reeves, who had the advantage of fighting against a real person. We had the advantage of understanding lighting and real body movement, so that the CG character would look real."

Dressing the Fantasy: Intricate Costume Design

Crafting the costumes for the epic action-adventure meant not just adhering to the strict practices and styles of 18th-century Japan, but also creating looks for as many as 900 extras, in addition to the principal cast. The extravagant outfits were mostly handmade, and the costume department went to great lengths to craft items from beautiful and colorful kimonos to complex and coded armor for the film's many soldiers.

The biggest challenge was coming to terms with a period of history and mountainous geography largely unfamiliar to Western audiences. For costume designer Penny Rose, whose experience in historical and fantastical dress includes projects as diverse as all four of the Pirates of the Caribbean films"as well as Prince of Persia: The Sands of Time, King Arthur and Shadowlands"the first step was, naturally, to research. She shares: 'We knew very little about 18th-century Japan, so two people from the costume department went to Japan to visit all the museums in Tokyo and start amassing research. We didn't want to replicate the real thing, because we were making a fantasy world. However, we did want to start with a base of the shape, and then we built onto it."

Carl Rinsch describes their partnership: 'Penny Rose is a friend of mine, someone whom I've known since before the film began. In the early days, we discussed taking some of the original designs and breathing new life into them"giving them a style and a flair that you've not seen before. She created strong silhouettes for each of the character designs, as well as focused on specific color palettes and textures."

Collaborating alongside Carl Rinsch has been successful, Penny Rose says. 'He's very visual, imaginative and clever, and he always sees the big picture. He can be persuaded to try things he hadn't thought of, but then he also has endlessly brilliant ideas out of the blue. He's wonderful to work with because he's excited about the visual side of the film."

One of Carl Rinsch's most memorable ideas was to re-create the look of a Japanese screen in costume form. 'For Mika's handmaidens, we made a cape with a blossom tree embroidered on the back," Penny Rose details. 'When they stand together, you can see the entire tree. It worked beautifully."

Sanada, the film's champion of authenticity, commends the hard work of Penny Rose and her team: 'It's been very hard for Penny Rose because of the stark difference between Eastern and Western culture. But she's done incredibly well. She was absolutely the best person to do the film."

The hard work began with the creation of more than 1,000 simple white under-kimonos, the basis for each of the film's costumes. 'We stuck to tradition in the basic formation of the costume and then went a bit off the beaten path with the fabrics," says Penny Rose.

As was true of all departments, the costumers needed to collaborate closely with production designer Roelfs' group. Penny Rose shares: 'It's been an honour working with Jan, because the sets are magnificent. We partnered together to create shapes and colors that work within his designs and to make sure all the patterns didn't clash."

The design elements permeate the entire world of 47 Ronin. Whether it is through the armor of the horsemen or the deceptively simple outfits of the villagers, the audience may quickly identify the powerful allegiances of each character. 'Ako, the happy place, is in red," explains Penny Rose. 'The world of the villain, Kira, is in purples, and then the Shogun's world is gold with a bit of turquoise."

In a workshop in Budapest, approximately 400 sets of armor were painstakingly handmade from plastic, allowing for lightweight wear during the film's multiple battle sequences. This protected the actors from heat exhaustion. A single prototype was constructed in leather"the traditional material used when creating the real armor"and a revolutionary replication process ensured that the plastic versions were impossible to distinguish from the prototype. Enthuses Rose: 'The replication finish is the best I've ever seen."

Penny Rose intentionally explored contrast in the dress choices of Kai and Oishi. Of her design inspiration, she states: 'Kai is a lost boy. He's always dressed in patchy, ragged clothes and is a comfortable dresser. Oishi, meanwhile, has incredibly glamorous clothes. Each of his costumes is very complex, with four or five components, and he has about 10 or so looks throughout the film. We worked closely with Hiroyuki, and he was very interested in the detail."

For Shibasaki's Mika, Penny Rose turned her attention to high fashion. She shares: 'We looked at all of the houses that had done Oriental-flavored collections"like Dior in the '90s, Givenchy in the '60s and, of course, Alexander McQueen. We took elements of those designs and blended them with the traditional. Mika has her own color scheme, too, of peach, tangerine and very soft pastels. Everything is silk and has a high collar."

Penny Rose describes Asano's evil Lord Kira as the dandy of the group. 'He wears crystals and jewels and a lot of decoration, but always with the same broad-shouldered silhouette," she explains. 'He's definitely a snappy dresser."

Kikuchi is effusive about the outfits Penny Rose designed for her character. She shares: 'The costumes that Penny Rose prepared for me made me realise what the Witch is all about. They were very helpful in getting into the part. I could even say that the role only came to life when I put on the costume. Penny Rose helped me hugely."

The look for her Witch is completed with a set of different-colored contact lenses. 'The lenses make me look crazy and creepy," Kikuchi laughs. 'Just wearing them makes the character look mysterious enough to have magical powers." Penny Rose had to take into consideration the work of the visual effects team when she designed the Witch's clothes.

Adds Kikuchi: 'The Witch can change her shape and morph into anything from a fox to fabric."

Pamela Abdy was thrilled with the fruits of Penny Rose's team's labor. She enthuses: 'I'm obsessed with what they've done with the women's costumes. Penny Rose took the assignment to another level; their costumes are like couture. You could see these women walking down a runway during Paris Fashion Week! She's taken the authenticity of the world and put her own flair on it, so it has a very modern vibe. She's a force."

Christian Manz says the Witch's costume is almost another creature in the film. 'Her dress can change shape and she can shape shift as well," he reveals. 'We've done that in an interesting way"instead of doing old-fashioned morphs and things that we've seen since the '80s. Her dress is something that you won't have seen before."

47 Ronin
Release Date: January 9th, 2014