Miyagawa Eriko, producer behind FX's epic historical drama "Shogun", believes that creating truly unforgettable storytelling is about connecting with as many hearts as possible. When her team gathered in a Washington D.C. hotel room last February to await the show's global release, Miyagawa recalled feeling like sending a child off to college - filled with pride, terror, and love.
For this Yokohama native, who graduated from Georgetown University in 2002, the nation's capital represented where her "international adventure began". Twenty-two years later, she was back presenting "a Japanese jidaigeki, a period drama born of genuine cross-cultural collaboration".
The emotional moment took on added significance when a deputy chief of mission at the Embassy of Japan shared how the original 1980 "Shogun" miniseries had become an unexpected diplomatic tool when he was a teenager living in the U.S. Americans were captivated by stories in a faraway land with unfamiliar customs and codes, Miyagawa recounted.
This anecdote resonated with Miyagawa's own childhood experience of cross-cultural connection. When her family moved to Dubai for her father's work, she befriended a Dutch neighbor girl despite sharing no common language. "One day, my father put on the VHS of 'Alice in Wonderland.' I remember sitting side by side with that girl giggling at the Mad Hatter's unbirthday party," she said.
Miyagawa's career trajectory reads like a masterclass in bridging Hollywood and Japanese cinema. Her first job out of college was translating on the set of "Kill Bill: Vol. 1", where she was stunned by the scale and international collaboration. Working with Martin Scorsese on "Silence" proved formative, as Miyagawa was struck by his humility and openness to understanding different cultures.
When Miyagawa joined FX's "Shogun" after "Silence" was released, the timing proved prescient. The series found passionate champions in FX leadership John Landgraf and Gina Balian, who brought on co-creators Justin Marks and Rachel Kondo to reinvent the story for contemporary audiences. In one acceptance speech, Justin joked that he still couldn't believe FX had greenlit a very expensive subtitled Japanese period drama.
Miyagawa prefers a different framing, seeing John and Gina as reading the direction of the wind, waiting for the right moment and striking. The timing was remarkable, with COVID accelerating the rise of global streaming and audiences becoming more adventurous.
Deeper responsibility toward authenticity became Miyagawa's focus. Every aspect of the show, from hairstyles to historical gestures, was discussed in multiple languages, requiring patience, curiosity, and respect. The production became its own cultural conversation, with a crew from five continents sharing bento and donuts while working together.
Reflecting on her career, Miyagawa revealed that she's never worked on a show without translation - an experiment in translation not just of language, but of worldview. Her work on "Shogun" was no exception, as she brought people from different worlds meeting in the same creative space, figuring out what common language they shared.
Ultimately, Miyagawa believes that epic storytelling isn't about scale or budgets, but about how many hearts it can belong to. Every true epic story begins with curiosity, empathy, and courage - a process she hopes will continue to inspire creators to push boundaries of cultural exchange.
For this Yokohama native, who graduated from Georgetown University in 2002, the nation's capital represented where her "international adventure began". Twenty-two years later, she was back presenting "a Japanese jidaigeki, a period drama born of genuine cross-cultural collaboration".
The emotional moment took on added significance when a deputy chief of mission at the Embassy of Japan shared how the original 1980 "Shogun" miniseries had become an unexpected diplomatic tool when he was a teenager living in the U.S. Americans were captivated by stories in a faraway land with unfamiliar customs and codes, Miyagawa recounted.
This anecdote resonated with Miyagawa's own childhood experience of cross-cultural connection. When her family moved to Dubai for her father's work, she befriended a Dutch neighbor girl despite sharing no common language. "One day, my father put on the VHS of 'Alice in Wonderland.' I remember sitting side by side with that girl giggling at the Mad Hatter's unbirthday party," she said.
Miyagawa's career trajectory reads like a masterclass in bridging Hollywood and Japanese cinema. Her first job out of college was translating on the set of "Kill Bill: Vol. 1", where she was stunned by the scale and international collaboration. Working with Martin Scorsese on "Silence" proved formative, as Miyagawa was struck by his humility and openness to understanding different cultures.
When Miyagawa joined FX's "Shogun" after "Silence" was released, the timing proved prescient. The series found passionate champions in FX leadership John Landgraf and Gina Balian, who brought on co-creators Justin Marks and Rachel Kondo to reinvent the story for contemporary audiences. In one acceptance speech, Justin joked that he still couldn't believe FX had greenlit a very expensive subtitled Japanese period drama.
Miyagawa prefers a different framing, seeing John and Gina as reading the direction of the wind, waiting for the right moment and striking. The timing was remarkable, with COVID accelerating the rise of global streaming and audiences becoming more adventurous.
Deeper responsibility toward authenticity became Miyagawa's focus. Every aspect of the show, from hairstyles to historical gestures, was discussed in multiple languages, requiring patience, curiosity, and respect. The production became its own cultural conversation, with a crew from five continents sharing bento and donuts while working together.
Reflecting on her career, Miyagawa revealed that she's never worked on a show without translation - an experiment in translation not just of language, but of worldview. Her work on "Shogun" was no exception, as she brought people from different worlds meeting in the same creative space, figuring out what common language they shared.
Ultimately, Miyagawa believes that epic storytelling isn't about scale or budgets, but about how many hearts it can belong to. Every true epic story begins with curiosity, empathy, and courage - a process she hopes will continue to inspire creators to push boundaries of cultural exchange.
. It's wild to think about how something as simple as a period drama can bridge cultures like that. Back in my day, we didn't have all these fancy streaming services, but it's great to see creators pushing boundaries like Miyagawa is doing on "Shogun" 
. The fact that she's always been about authenticity and cultural exchange is really admirable – it's not just about telling a story, but about creating a shared experience between people from different worlds 
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It's like she's saying that storytelling is a universal language that can bring people together, regardless of where they're from or what their differences are 
What I love about her approach is that it's not just about the end result, but also about the process of collaboration and exchange that goes into creating something truly unforgettable 
just watched the premier of shogun and man it's emotional how they told this epic story with so much love and care... 
got me thinking about erikomiyagawa-san and her team working on this show for like 4 years or something, must be crazy to get every single detail right from different cultures 
I think Eriko Miyagawa's approach is super relatable 
. And yeah, the fact that she's always been passionate about translation and cultural authenticity is really admirable 
. The way she emphasizes empathy and courage in epic storytelling resonates with me too - it's all about creating a shared human experience 
. I love how she frames John Landgraf and Gina Balian as being open to new ideas, waiting for the right moment to strike 
. It's refreshing to see someone who values collaboration and cultural sensitivity 
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And the way she talks about connecting with hearts from different places, it's so true 
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. As someone who's worked in the creative field, I'm reminded that it's not just about making hits or breaking records, but about leaving a mark on people's hearts 
. It's like what Obama said during his 'Yes We Can' speech - 'Change will not come if we wait for some other person or some other time.' We need more creators and leaders who are willing to take risks, be open to new ideas, and collaborate with people from different backgrounds 
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and her approach to shogun is just pure perfection 
she's not just about making a hit show, but creating something that connects with EVERYONE's heart 