An Interview with Chief of War lead writer Thomas Paʻa Sibbett
This interview has been edited for length and clarity
Chief of War has been extremely successful. It is one of the top shows on Apple TV globally. Has this met or exceeded your hopes for the production?
Our goal was never to [just] get this season out. Our goal is to do more of this. And until somebody says we can, I’m not celebrating. The celebration won’t come until we know enough people have watched it so that we can tell more stories. I do love the fact that it’s sparking a lot of dialogue and questions. Should we tell a story that’s straight down the middle historically? Should we be allowed to move things around? Some people are saying, ‘I love it.’ Other people are saying, ‘I don’t think that this was done right.’ It’s great that we can have this dialogue, you know – challenge the story, challenge me as a storyteller.
The episode based on the 1790 Olowalu massacre was brutal. Talk more about that.
Olowalu is not on Hawaiʻi Island, but for the story, we needed to make a connection to Kaʻiana. When you read through the history, Kaʻiana did suggest that they not allow Metcalf to leave, but Kamehameha told him no. Kaʻiana still boarded Metcalf’s ship to try to kill him one night and was stopped by Kamehameha. This is historically correct. Kaʻiana and Kamehameha argued in Hawaiian on board and Metcalf didn’t know what was going on. He left shortly afterwards for Maui. The reason I didn’t place the massacre in its actual location is because for our story, if something happens far away from our characters, it doesn’t have the same impact as if it happens nearby. It was a necessary event for people to see – not for shock value, but to start the dialogue about what happens when different peoples come together. What can we learn from each other? And how do we avoid things like this happening? History has given us the examples. We know the destruction that can happen when we don’t learn from each other.
What do you hope viewers take away from the massacre scene?
It’s one thing to tell the story. It’s another to see it. And when you see it, you can understand. We didn’t even film it the way it really happened. It was far worse. Far worse. I’m hoping it allows non-Hawaiians to understand a little bit about the generational trauma Hawaiians are talking about; why it’s impactful, why it hurts, so they can begin to understand that Hawaiians are justified in their feelings. For Hawaiians, if anything it’s an affirmation. It was about setting the scene. Now let’s have a conversation and talk about where we go from here.
Talk about ʻŌpūnui. Is he based on anyone from history? He is a very intense character and presence.
He’s a great character. And one of the few created for the show. He serves a very specific purpose – to keep a pulse on the disdain for Kaʻiana, and the fact that there’s always threat looming over him and his family. I always pictured Keala (Kahuanui-Paleka) for this character, and he is perfect. He’s a representation of the warrior culture that has been suppressed and pushed to the side for Hawaiʻi to remain attractive for tourism. Keala is a very strong Kanaka, but he’s got a wonderful heart. He is very aloha. It shows the wealth of talent that we have in Hawaiʻi. He’s not an experienced actor but he’s undeniable when you turn a camera on. Undeniable.
In episode seven, Kupuohi says, “They do not need to be here to hurt us. Kaʻiana, do you not see? We learned their language. We use their weapons. I fear their ways will sweep through us like a sickness and change us as they have changed you.” More foreshadowing?
Certainly. Look, the only benefit that we have as storytellers is when we’re telling a story based on history, we know the outcome. So if you can write to it and present it in the context of characters that can foresee the outcome, it’s quite effective. Again, because we have no guarantee of a second season, we made some decisions to get specific messages out. If we don’t get to tell any more [of this] story, then what we heard Kupuohi say can resonate and sit with us.
Considering the current political landscape, comment on the timing of this series.
I don’t like talking about politics, but if you look at America it’s split down the middle. I think that is orchestrated. I don’t think that we are inherently that confrontational, but it’s happening. I want to believe that the world is primed for healing. We’re ready for it. Get rid of all that noise and the fear-based media. That’s why this is important. When we see each other, when humanity really has a chance to put a mirror up and look at itself, and we see each other for what [and who] we really are, communication is better. Regardless of your belief system, you can exist in a world with people who don’t believe the same thing. The timing is interesting because we could not have planned this. But the fact that it allows us to have these conversations in the political landscape in which we live, I think, is very timely. It may not be presenting the solutions, but it’s presenting the right questions so we can find the solutions together.
How does the history shown through this platform contribute to dialogue about sovereignty, Indigenous worldviews and colonization in Hawaiʻi?
I think that we’re on the precipice of another Hawaiian Renaissance. I really feel that. You can look at Hawaiian history and we have a solution to almost every problem that we’re dealing with now. History is a great teacher. Those are things that we’re thinking about as we’re writing. It’s meant to have an impact. It’s meant to be a conversation starter. Keeping our history connected to our present is very important. As Kānaka, we inherently do that. We always talk about our history, about our family. We are very cognizant of our history, and we carry that with us in the present. Understanding our history is the solution for the future.
What do you want your legacy to be to our lāhui?
I’ve never considered my own lāhui legacy, to be honest. All I ever really wanted to do was to ignite that conversation of what can we do to tell our own stories. That’s all this is about. You’ve seen two Kānaka build a story, present it. And if it inspires you to do it as well, awesome. I believe that film is the next great avenue for Hawaiʻi people, for Pacific peoples. Because we are storytellers. Say we get a season two, and you like the show or thought about being an actor – come and audition. Or if you don’t like the story or how it was curated and crafted – then learn to write your own stories. If you want to get into this industry and it sparks something in you to try to develop a career in film, then that’s what this is meant to do. We need to be the curators of our own stories.
