Mapping Out a Long-Term Journey: 'Blue Eye Samurai' Series Unveils Four-Season Blueprint

Article Summary

Blue Eye Samurai is an action-packed animated series following the story of Mizu, a young biracial woman seeking revenge.

Created by the dynamic duo of Michael Green and Amber Noizumi, the series marks their inaugural collaboration with a well-thought-out four-season plan. The cast boasts an impressive lineup of gifted actors, including Maya Erskine, Kenneth Branagh, Randall Park, and many others.

Netflix introduces the thrilling new animated series, Blue Eye Samurai, which transports viewers to 17th-century Japan during the Edo Period. The show revolves around Mizu, a young biracial woman named Mizu, who faces discrimination due to her cruel white father, Abijah Fowler. Branded as a "creature of shame," Mizu takes on the persona of a male samurai, embarking on a vengeful journey against those who have caused her and her loved ones harm. Blue Eye Samurai is the brainchild of power couple Michael Green and Amber Noizumi, marking their first-ever collaboration. Green, a highly acclaimed screenwriter, has garnered an Academy Award nomination, worked on renowned TV shows like Heroes, Smallville, and American Gods, and contributed to the success of blockbuster films including Logan, Blade Runner 2049, Kenneth Branagh's Hercule Poirot series, Jungle Cruise, and The Call of the Wild.

With Blue Eye Samurai set to make its debut on Netflix in the coming week, our website had the privilege of interviewing Green and Noizumi to delve into the series' significant inspirations, the process of bringing together a remarkable cast, the intricacies of working on an animated show, their comprehensive plan spanning across four seasons, and a plethora of other captivating aspects.

Image via NetflixBlue Eye Samurai

BLUE EYE SAMURAI is a visually stunning and thought-provoking cinematic series that combines adult animation with a live-action feel. Set in Edo-period Japan, the story follows Mizu, a skilled mixed-race swordmaster who lives in disguise and embarks on a quest for revenge. The series features an exceptional cast including Maya Erskine, Kenneth Branagh, George Takei, Darren Barnet, and more. Written by Michael Green, Amber Noizumi, and Yana Bille-Chung, and directed by Jane Wu, Michael Green, and Alan Taylor, BLUE EYE SAMURAI promises to be an exciting and captivating viewing experience. Streaming exclusively on Netflix starting November 3, 2023.

Our website: I understand that this is your first time officially working together, Amber. I have a question specifically for you, as I know Michael is involved in various interesting projects. Do you ever provide your own input when you come across something he is writing that fascinates you?

MICHAEL GREEN: Absolutely everything I have ever worked on.

AMBER NOIZUMI: I have read all of his written works and provide him with feedback, to which he often responds, "Okay. Nice, nice. I appreciate your perspective, but it's not something I'll consider."

GREEN: Amber is the sole individual whose feedback I genuinely consider. She serves as my primary source for discussions and critiques, supporting me throughout my entire creative journey.

NOIZUMI: Well, that's very nice, but…

GREEN: That is 100% true.

NOIZUMI: I have been tracking Michael's work for, you know, 20 years.

So I know you've worked in both television and film, but was this always going to be a series?

GREEN: This story was always intended to be a series, and our intention remains to continue an ongoing narrative. Our ultimate desire is for this to be the first season of at least four seasons. We would be thrilled to receive further discussions about extending the series. This is merely the start of a captivating journey.

How did it come to be on Netflix?

NOIZUMI: We presented the idea to multiple platforms. It has been more than four years since we pitched it, but Netflix has always been ambitious with its projects, particularly in adult animation. They showed great enthusiasm for the concept and have been amazing collaborators.

GREEN: Absolutely, we initiated the partnership when Netflix was highly optimistic about creating original content and expanding their animation divisions. Although they have scaled back due to financial considerations, we have successfully dodged any negative impact.

Image via Netflix

When did you begin assembling the cast? I was truly impressed by Maya Erskine's performance in the main role, and I was quite surprised to hear Randall Park play a villainous character because he always seems so cheerful in his other work.

NOIZUMI: Randall is absolutely incredible. From the moment we started brainstorming, we immediately thought of Maya Erskine for the role of Mizu. We were so impressed with her work in PEN15, where she skillfully portrayed the challenges of being biracial with humor and grace. We knew that she could harness that same emotional depth to bring anger and revenge to life.

GREEN: Absolutely, Maya is an exceptionally talented and trained actor. We had one conversation with her and knew she was the perfect fit. Early on in the writing process, we used to play a game called "Who Else Could Be Ringo But Masi Oka?" and the answer was always Masi Oka himself. Casting was a breeze because everyone we approached said yes, including the guest cast. We only had one person decline due to scheduling conflicts. It was a really exciting and grateful experience to have such enthusiastic support.

I was particularly intrigued about getting Kenneth Branagh on board. How did that happen?

GREEN: It was a result of calling in a favor. [Laughs] I've been fortunate enough to collaborate with him on the Agatha Christie Poirot adaptations and I had a hunch that this project would pique his interest. However, we approached his managers in an official and formal manner and asked, "Do you think he would consider doing something that is, for lack of a better term, beneath his talents and commitments?" Surprisingly, he eagerly agreed and delivered an outstanding performance in the role.

NOIZUMI: Kenneth is an incredibly skilled professional. He effortlessly delivers his lines in just one take, leaving us in awe. We often find ourselves asking, "Are we finished already? Well, I suppose we are."

GREEN: One amusing exchange we had with Kenneth was when we discussed our character being of Irish heritage. We mentioned this to him, and he promptly asked us which part of Ireland he should base his performance on. He even provided us with options of specific towns. Our response was simply, "The Irish part?" It was evident that he was not only highly talented, but also very attentive and versatile in his craft.

Regarding Maya, I am aware that she also contributed to PEN15. Was she ever involved in shaping the storyline? Did she inquire about certain aspects or offer advice?

NOIZUMI: I'm trying to recollect, but I cannot recall a specific instance where she pitched story ideas. However, she expressed a strong desire to revisit her content, thoroughly review it, and ensure that it accurately represented Mizu's perspective. While some individuals may prefer to complete a project and move on, Maya was committed to ensuring that she portrayed Mizu's character and story in the most authentic manner possible. And she succeeded in this endeavor.

I had a big question because I noticed that you posted on what I believe is now X, even though I personally choose not to refer to it as such. It caught my attention that you guys pitched it as a combination of Kill Bill and Yentl, which I absolutely love…

GREEN: [Laughs] Yes, that is indeed accurate.

Image via Netflix

What were some of your other big influences on the series?

GREEN: Not only because Yentl is a woman with a deep passion for an art form and must conceal her true identity to pursue it, but also because of the captivating love triangle between Hadass, Avigdor, and Yentl. This is exactly the kind of story we aimed for. However, we were heavily influenced by various movies, especially during the challenging times of the pandemic. To enhance our storytelling, we delved into the Criterion Collection and explored classic Japanese films. One notable film was "The Life of Oharu" from 1952, a poignant portrayal of the limited choices and hardships faced by women. It served as a reminder that Mizu, our protagonist, had no other options but to seek revenge within the constraints of her life circumstances. Similarly, for our character Akemi, we considered the oppressive rules that governed her existence and how disheartening they were. Among the notable influences, "Crouching Tiger, Hidden Dragon" stood out as well...

GREEN: The film Harakiri by Kobayashi had a significant visual impact. It greatly influenced everyone working on the show. Genndy Tartakovsky, in particular, excels in animated television with a rare combination of patience and precision in storytelling. He creates space for introspective and serene moments while maintaining a compact narrative. Although his artwork receives praise, his storytelling deserves just as much recognition. We could talk about it endlessly. We're passionate about it.

NOIZUMI: Lady Snowblood and Onibaba.

That was the most effective utilization of that music since Kill Bill.

NOIZUMI: Thank you!

GREEN: Thank you very much. We'll take it.

The fifth episode, to me, was truly remarkable. I couldn't help but wonder how it all unfolded. It's interesting that the episode, which Amber wrote independently, turned out to be a masterpiece.

I’m sorry.

GREEN: No, no. I think that's the reason why. [Laughs]

NOIZUMI: We aimed to provide the audience with an explanation of the Onryō we had been discussing. Additionally, we sought to grant Mizu a backstory that would humanize her. We wanted to portray her as more than just a sad orphan or an angry woman with a thirst for vengeance. Instead, we wanted to showcase the potential life she could have had if circumstances had been different. We wanted to capture her true essence, the moments when she was genuinely happy and displayed her authentic self. This involved incorporating various elements, such as exploring her alternate reality, weaving in elements of a traditional Japanese tale, and illustrating the transformation she has undergone. It is important to note that the episode was also directed by Michael, so credit goes to him as well.

GREEN: I was deeply enamored with the script, which is why I had a strong desire to direct that episode. Despite any possible flaws resulting from my interpretation, the exquisite nature of the story assured me that it would undoubtedly be the finest episode. There is much to delve into regarding this particular episode, as its narrative is genuinely captivating.

Image via Netflix

I was really interested in the animation style because it felt very unique. I absolutely loved how it looked. Jane Wu played a significant role in the animation process, but were there different stages involved? Did you explore different animation styles?

GREEN: Definitely. When it came to Jane Wu, the process involved discussing our ideas with her, and she confidently said, "I know how to do this." A crucial aspect of starting any show is to make clear statements, and one of the statements we kept making was, "But what if we made this incredible?" Everyone involved, including our partners at Netflix, agreed and shared the desire to create something extraordinary. Netflix played an essential role when we were searching for a vendor studio to work with. We had our team prepare the necessary materials and send them over. We knew that the animation would be interpreted in the vendor studio's house style, so we focused on finding a studio that could produce exceptional work. We asked Netflix, "Who can we work with that will make us say, 'Wow, it's breathtaking, even if it's expensive?'" To their credit, they suggested working with Blue Spirit, a French Canadian-based company. The work they produced surpassed everyone's expectations in terms of quality but also came at a higher cost and required more time. However, we all remembered our premise: "what if we made it extraordinary?" With that in mind, we took the leap of faith and collaborated with Blue Spirit. The results speak for themselves, and we owe thanks to them and Jane Wu for their contributions.

It was a rewarding experience. While having lunch with a friend, I mentioned the series to him. To my surprise, he had already seen the trailer and was particularly impressed by the animation. It seems that for certain individuals, the animation is a major draw that captivates their attention.

GREEN: Our initial goal was to create characters that would blur the lines between animation and live-action, evoking the same level of emotional connection that one would have with a cast of real actors.

NOIZUMI recounted Jane Wu's statement, "I want this to have a unique and unprecedented appearance." Despite our collective adoration for anime and Disney, we opted for a distinct and entirely separate approach.

GREEN acknowledged Wu's astuteness in selecting the right individuals to actualize her vision, affording us the opportunity to gain hands-on experience and learn while working.

The fight scenes in this show are some of the best I've seen in a long time, whether it's animated or live-action, especially on TV. I was wondering, how did you approach writing those fight scenes? Did you collaborate with Jane on them?

GREEN: When it comes to writing action scenes, we start by drafting a version that includes a concept and the characters involved. What sets our fight scenes apart, and what resonates with viewers, is that they are more than just action for the sake of it. They are integral to the characters' development and the advancement of the story. So, we make sure to put in the necessary effort to achieve that. Once we have a clear understanding of the intentions and concept, we give Jane the freedom to take it to the next level. We encourage her to bring her own brilliant vision to the scene and make it truly exceptional.

NOIZUMI: And Jane called a favor to an old friend, sunnysun, who is one of the best stunt choreographers…

GREEN: In the world.

NOIZUMI: Yes, worldwide. He needed to grasp the essence of storytelling, so he took whatever version was available. For instance, in Episode 5 between Mizu and Mikio, I had a rather weak fight scene, but he understood the key elements. He comprehended the storytelling aspect and created an extraordinary rendition that remained faithful to the story.

GREEN: On a smaller level, when it came to individual moves, instead of burdening our board artists or animators with skills they didn't possess, Jane assembled a team of friends and family for animation. We called it Backyard Stunt Viz. Sometimes, we would walk into the office and find one of our animation supervisors, Mike Greenholt, dressed in a kimono with a wooden sword, engaging in a battle with Jane while someone recorded it. They used this footage as reference to accurately portray the moves, as everyone was fixated on maintaining martial arts authenticity.

NOIZUMI: And they would do it for camera angles, too, so they could see the way it would look.

GREEN: Yes, sometimes our COVID-empty Netflix offices were filled with people fighting.

I also was really surprised by the sense of humor on this show, as well, and I was wondering if one of you had more of the humor input.

GREEN: I don't know. Amber's the funniest person I know.

NOIZUMI: I believe our compatibility stems from our playful exchanges, making it a balanced dynamic.

GREEN: Drama necessitates individuals to unapologetically embrace their true selves, and it is astonishingly amusing how even in grave circumstances, a petty person remains petty, and a hungry person fixates on food. I haven't had breakfast yet, hence why I'm already discussing lunch.

I would be negligent not to inquire about the progress of the BioShock script, given my passion for the franchise. Can you provide any updates or information on its status?

GREEN: Yes, to some extent. It's important to be cautious with our words, as Netflix's legal team is closely monitoring. However, Netflix has been incredibly supportive throughout the process. They were thrilled about the project prior to the strike, and their enthusiasm remains unchanged post-strike. As soon as the strike ended, I received inquiries about its progress, and if I'm nearly ready... I've been consistently collaborating with Francis Lawrence and his team to refine the draft and prepare for the next steps. We are all filled with optimism and genuine love for this vast and nightmarish world that we hope to bring to life. So, let's remain hopeful. I hope to be able to provide you with an update soon.

Awesome.

GREEN: Did you play the game?

Yes, the first one I played was BioShock Infinite. I’ve always been a big fan of that game.

GREEN: That is a lot of people's favorite.

Blue Eye Samurai will be streaming on Netflix starting November 3.

Editor's P/S

As a passionate fan of animation and storytelling, I am incredibly excited about the upcoming release of Blue Eye Samurai. The series promises to be a thrilling and thought-provoking cinematic experience that combines adult animation with a live-action feel. Set in Edo-period Japan, the story follows Mizu, a skilled mixed-race swordmaster who lives in disguise and embarks on a quest for revenge. The series features an exceptional cast including Maya Erskine, Kenneth Branagh, George Takei, Darren Barnet, and more.

I am particularly intrigued by the show's exploration of themes of identity, discrimination, and revenge. Mizu is a complex and relatable character who is forced to navigate a world that is often hostile to her. Her journey is one of self-discovery and empowerment, and I am eager to see how her story unfolds over the course of the series.

The animation in Blue Eye Samurai is absolutely stunning. The visuals are rich and detailed, and the fight scenes are particularly well- choreographed. The voice acting is also top-notch, with each actor bringing their character to life with skill and passion.

Overall, I am very excited about Blue Eye Samurai and I believe it has the potential to be a breakout hit. I highly recommend checking it out when it premieres on Netflix on November 3, 2023.