Jean-François Campeau has long been drawn to stories that live on a grand scale. His design work on projects like “Ascension” and “The Day After Tomorrow” demonstrated a deep interest in world building and historical texture. With Apple TV+’s “Chief of War,” he faced his most ambitious challenge yet: creating a cinematic world that honors the spirit and complexity of Hawai‘i’s history while grounding every frame in cultural truth.
The series which launched August 1, led by Jason Momoa, tells the story of the unification and colonization of Hawai‘i at the end of the eighteenth century. Momoa not only stars as the warrior-chief Ka‘iana but also serves as co-creator and executive producer. The ensemble features Luciane Buchanan (Ka‘ahumanu), Temuera Morrison (King Kahekili), Kaina Makua (Kamehameha I), Te Ao o Hinepehinga (Kupuohi), Moses Goods (Moku), Siua Ikale‘o (Nāhi), Brandon Finn (Prince Kūpule), James Udom (Tony), Mainei Kinimaka (Heke), and Te Kohe Tuhaka (Namake), among others. It is performed by a predominantly Polynesian cast, reflecting the production’s commitment to telling the story from within the culture itself.
For Campeau, the process began with an intense period of research. “It was the first time Hawaiian culture was being represented in such a large-scale Hollywood project,” he explains. Working closely with the Bishop Museum in Honolulu and a team of cultural advisors, Campeau and his designers built a vast visual archive to guide every creative decision. “We used to say it’s not just a show in Hawaii, it’s about Hawaii and Hawaiian culture,” he adds.
That research evolved into a visual language rooted in the tension between mana and kapu, the spiritual force and the human law. “Once you have that foundation, the next step is concept,” Campeau says. “How do you take the facts, the images, the history, and express them in a spectacular, universal way?” That balance of spirituality and power became the aesthetic heartbeat of “Chief of War.”
Campeau’s team designed across two continents, filming landscapes and seascapes in Hawai‘i while constructing large-scale sets in New Zealand. The result, he says, was “the perfect mix,” blending Polynesian authenticity with modern production infrastructure. One of his proudest achievements was the temple of Kū, built on a seaside cliff, anchored six feet deep into the rock, and dressed entirely in natural materials. “It looked precarious but it was solid,” he recalls. “All the visible materials were real. The only hidden parts were contemporary.”
Through this approach, Campeau’s production design became an active storyteller. Each build reflected the values, beliefs, and contrasts at the center of Momoa’s epic vision. “That counterpoint of poetry and large landscapes, and then violent retributions between kingdoms, became the engine for the aesthetics,” he says.
Awards Focus sat down with Jean-François Campeau to discuss the creative and cultural journey behind “Chief of War,” exploring how his design team captured both the beauty and the brutality of Hawai‘i’s fight for identity.
Awards Focus: “Chief of War” is a major Apple TV+ production, with huge scale and cultural significance. What first drew you to the project, and how did you begin shaping its visual identity as production designer?
Jean-François Campeau: It started like almost every time, with a phone call. The first step is always research. In this case, it was more intimidating because of the subject matter and the fact that it was the first time Hawaiian culture was being represented in such a large-scale Hollywood project. We used to say it’s not just a show in Hawaii, it’s about Hawaii and Hawaiian culture. That made it more intimidating, but also more exciting.
The research process was different. Since it’s mostly an oral culture and we are image gatherers building huge visual banks, it was challenging. We had recollections, we worked with the Bishop Museum in Honolulu, and we had cultural advisors who were graciously on board with us. The approach was similar to how I usually begin, but this time it became a deep dive into Hawaiian culture through different pathways.
Once you have that foundation, the next step is concept. How do you take the facts, the images, the history, and express them in a spectacular, universal way? For me, it was the contrast between mana and kapu. Mana is the godly infusion that animates every force of nature, which is typical of any animist culture. Kapu is the human-made rules, which could get violent. That counterpoint of poetry and vast landscapes, and then ultra-violent retributions between kingdoms, became the engine for the aesthetics and visual approach of the show.
AF: The series eventually moved production from Hawaii to New Zealand. Can you talk about the reasons for that and the challenges of designing in both locations?
Campeau: The show is about the land, about Hawaii. So the first intention was to do everything there. What we underestimated a little was how much we wanted to depict Hawaiian culture as a civilization. It wasn’t just about showing people in the wilderness with beautiful landscapes in the background. We wanted to build a world and create big sets in natural environments, and that was a double challenge. You need coastal spaces without power lines or highways, and at the same time you need infrastructure.
That’s when it became clear we had to split the show between Hawaii and New Zealand. We did all the landscape and water work in Hawaii, and then the larger builds in New Zealand. New Zealand offered us untouched landscapes but with accessibility and infrastructure for a big crew. It became the perfect mix, and it felt culturally right. It wasn’t like going to Europe or anywhere else — it was still within the Polynesian triangle. You had Maori and Hawaiian people together, sharing rituals and ceremonies. It made sense on every level. And of course, Jason Momoa loves New Zealand, so that helped.
AF: You’ve mentioned cultural authenticity. What steps did you and your team take to pull that through in the sets?
Campeau: Authenticity was a huge concern. We wanted to honor the craftsmanship. Hawaiian artisans created incredible objects, even everyday things. If you go to the Bishop Museum, you’ll see fish hooks carved from bone, refined and elegant. We wanted to glorify that.
One example is the double-hull canoe you see in the first episode. That was built from scratch, from tree trunks. Of course we used a few modern tools like chainsaws and some fasteners, but the sails were handwoven, the rope handmade, all guided by cultural advisors. And then we sailed it. Jason actually sailed it on the coast of Makua. The Hawaiian community got involved, and it was really exciting to recreate that craftsmanship.
Another big example was the ki’i statues, which are often called tikis. There are thousands of representations, since there are many gods. We worked with Lionel Grant, a Maori sculptor who teaches in Hawaii. For the temple of Kū, the god of war, we cut a tree in Hawaii, shipped it to New Zealand, and had Hawaiian students and sculptors work with him there. It was important for us to make it as significant as possible within production limits.
AF: Were there moments where authenticity conflicted with production limitations, and how did you navigate those?
Campeau: Yes, the stronghold set is a good example. We wanted to establish it as the geopolitical center of the islands, to show why people were fighting — not just violence for the sake of violence. My first intention was to build it in a natural setting, but the timeframe and weather made that impossible.
I wanted to build it on a backlot outside, but winter weather was too harsh. Everyone is basically wearing a malo, and you can’t have 200 people exposed for 12 hours. So we ended up building it on stage and extending it. It worked, but it was a compromise. For most of the other big sets, we built in natural environments, which I think always gives you the most spectacular results.
AF: What about extreme conditions? Hawaii is windy, and you were building with natural materials. How did you work with engineers to ensure safety for cast and crew?
Campeau: Safety was a big concern. Most of the major builds were in New Zealand, where we had an engineer in the office full-time. Everything had to be built to code. On top of that, we layered traditional techniques. For example, when building huts, we fastened them structurally in an acceptable way and then hand-lashed everything on top to make it look authentic.
There was even Cyclone Gabrielle, one of the biggest storms. Production stopped, and my art department office was flooded. But a spectator hut we had built with real thatching had been standing for months and survived the storm. That proved our process worked.
The temple of Kū was built on a cliff. From the water it looked like it could slide off. Geological engineers inspected it, and we anchored it with screws six feet deep before building the platform. It looked precarious but it was solid. All the visible materials were real — wooden poles, real thatching — only the hidden fastenings were contemporary.
AF: In later episodes, we see Zamboanga. How did you design those sets to contrast Hawaii while still serving the story?
Campeau: Zamboanga was the counterpoint to Hawaii. It shows Kiana’s travels, which are part of Hawaiian history. He was a war chief who traveled the world and came back around the same time Europeans were arriving. Narratively, it shows both colonial influence and the Hawaiian perspective.
Visually, we wanted the opposite of Hawaii. Where Hawaii had moving water, Zamboanga was stagnant. Hawaiian sets were natural and open; Zamboanga was dense and claustrophobic. The Spanish architecture was massive and imposed itself on the land.
Practically, it was realized differently too. The Hawaii sets were built outdoors in nature, while Zamboanga was more of a traditional backlot and stage build with intercutting. You’d see Kiana running through the slums, switching from a stage set to a backlot to an exterior street. It was a complementary but very different approach.
AF: Was there a maritime set piece that became a personal favorite?
Campeau: The canoe in the opening scenes, definitely. For me, it was very important. We had a blessing ceremony when the boat was ready. It was put in the water, blessed, and then members of the community sailed it. It wasn’t just an object — it was meaningful.
Having the cast on Makua Beach, sailing it, was surreal. We rarely do that. Usually we work in controlled environments, but with the support of Hawaiian watermen, everyone felt comfortable. It was really a trip, and one of the most significant things I’ve worked on.
AF: Did you personally keep anything from production?
Campeau: No, I didn’t. We kept items in warehouses in Hawaii and New Zealand, but nothing personally. I would have loved to keep one of the capes. They were incredible.
AF: What lessons will you carry forward from “Chief of War”?
Campeau: It was an intense personal experience. I’ve always considered myself curious and open, but this made me realize how relevant older cultures are to the challenges we face today. Any time I work on a culture that isn’t mine, the lesson is to dive in, because it’s always significant and relevant.
It also mattered that this was a passion project for Jason, years in the making. You could feel that. Being part of it was a great honor, and it had an impact on me that most jobs don’t.