I, Hiroshi Nohara, the star of Japanese cinema

Chapter 257 Hiroshi Nohara is the seed! He is the future of Japan! He is recognized by everyone!
In the early morning, the coffee machine gurgled and steamed in the Tokyo TV tea room, and the freshly baked red bean bread emitted a sweet aroma.

Nanako Sato, the young editor in charge of post-production for "Yamishibai," held a newly printed promotion notice in her hand, her voice filled with excitement: "Look! Hiroshi-san has really been promoted to second-level director! And he's also become the deputy director of Kanto TV! That's amazing!"

Keisuke Yamada, who was in charge of storyboarding, leaned over, his eyes wide with surprise: "Really? But it should be like this! No surprises! Last time I consulted Hiroshi-san about storyboarding, he only looked at my sketches and pointed out that 'the scarecrow shot should be filmed from a low angle to emphasize the sense of oppression.' Later, that storyboard became the most popular scene in 'Yamishibai'! With his talent, he should have been promoted a long time ago!"

"That's right!" Bai Chuanren, who was in charge of sound effects, walked over with a coffee cup and nodded repeatedly. "When we were recording the 'Ghost in the Rainy Night' segment for 'Tales of the Unusual,' I always felt that something was missing in the sound effects. Guangzhi-san asked me to add the sound of 'rain hitting a tin shed,' and instantly that eerie feeling was there! I could never catch up to this kind of attention to detail even if I studied for another five years!"

The cleaning lady, Sumiko Tanaka, who was wiping the table, couldn't help but chime in when she heard the three talking: "I clean Hiroshi-san's office every day, and I always see his desk piled high with information on artisans. He's still revising project proposals at night, and sometimes he works overtime until the early hours of the morning without going home. Such a hardworking and talented young man deserves a promotion!"

Nanako Sato waved the notice in her hand, her tone full of admiration: "Look at what the notice says, 'Special approval for promotion in recognition of outstanding contributions to cultural heritage and program innovation'! Even the station director personally signed it, this kind of treatment is too rare!"

Keisuke Yamada scratched the back of his head and said with a smile, "I heard from Section Chief Ichiro Hashimoto that Hiroshi-san went to Chiba fishing port to learn how to cast nets from the fishermen for half a month in order to film 'A Bite of China,' and he didn't complain even though he got several blisters on his hands. Who can compare to that kind of dedication?"

Bai Chuanren took a sip of coffee and sighed, "I used to think that 'geniuses' were all born that way, but after seeing Guangzhi, I realized that even geniuses have to work ten times harder than others! I'm not surprised at all that he was promoted to second-level director; in fact, I think it was a bit late!"

In Masao Iwata's office, sunlight streamed through the blinds onto the desk, where the script for "Onibo Samurai" lay spread out on the corner.

Holding a copy of the Asahi Shimbun, which carried news of Hiroshi Nohara's promotion, he sighed softly: "I used to be unconvinced, thinking that his film 'Yamishibai' was just lucky, until I saw the rough cut of 'Seven Samurai'—when the farmers rebelled against the bullies, the camera switched between hoes and samurai swords, and I could not capture that tension of class conflict."

Sitting across from me was Takashi Ashikaga, holding the storyboard for "Seven Samurai." His tone was full of emotion: "When I was filming period dramas before, I only thought about making the armor shiny and the fight scenes flashy, but I forgot about the core of the story. When Hiroshi-san filmed 'Seven Samurai,' he even paid attention to the patches on the farmers' clothes, saying that 'the location of the patches shows the hardships of life'—I am far behind in this kind of understanding of the characters."

Masao Iwata put down his newspaper and tapped his fingers lightly on the table: "Last time the station organized a director training session, Hiroshi talked about 'how to convey emotions through the camera.' He gave the example of 'the owner cooking ramen for a lonely old man' in 'Midnight Diner,' saying that 'you don't need to shoot a crying scene with the camera close to the face; just shooting the old man's hand holding the chopsticks is enough.' At that time, I felt that he saw things more clearly than us old directors."

Takashi Ashikaga nodded in agreement: "That's right! When I was filming 'The Warring States,' I wanted to show the shogun's loneliness, so I used a lot of empty shots, but the audience said they 'didn't understand it.' Later, after reading Hiroshi-san's 'Tales of the Unusual,' I realized that 'loneliness' can be shown by filming details like the shogun repeatedly wiping his old sword—I need to learn this skill of using details to tell a story."

Masao Iwata picked up his coffee cup, took a sip, and said with a hint of relief, "He's been promoted to second-level director, and nobody can say anything. I used to always think about competing with him, but now I realize that true skill isn't about winning over others, but about driving the entire industry forward. With him at TV Tokyo, we veteran directors have to keep up, or we'll really be left behind."

In Kei Tanaka's office, the latest recording schedule for "Super Transformation" was laid out on the table, and several young directors were gathered around, discussing Hiroshi Nohara's promotion.

"Kei-san, you've worked with Hiroshi-san the longest. Tell me, shouldn't he have been promoted a long time ago?" Takahashi Nanako, the director in charge of the family creative segment, asked expectantly.

Kei Tanaka put down his pen, smiled and nodded: "Of course! I remember when 'Super Transformation' was first launched, everyone thought that 'family costumes' were not interesting, but Hiroshi insisted that 'we should film the process of families rehearsing together,' because that kind of tacit understanding is more touching than the costumes themselves. Later, when the first episode aired, one family resolved their parent-child conflict because of rehearsing together, and the audience letters piled up on the table!"

Kenta Watanabe, the director in charge of props, held the newly made "robot" prop and remarked, "Last time we filmed the 'Future World' theme, I felt like my robot was missing something. Hiroshi-san had me add a 'family photo sticker' to the robot's chest, saying, 'No matter how advanced the technology is, it can't compare to the warmth of family.' As a result, that segment became the most popular segment of the episode!"

Nanako Takahashi waved the viewer's letter in her hand, her tone full of admiration: "Look, this letter says, 'Because we watched 'Super Transformation,' our family does crafts together every week, and the neighbors are all envious!' Hiroshi-san not only makes the show, but he also changes everyone's lives. Who can compare to that?"

Kei Tanaka took a sip of tea and added, "Another time, a child forgot his lines on stage because he was nervous. Hiroshi-san didn't stop the recording. Instead, he had the host interact with the child, and the child was able to finish the performance successfully. He always said, 'The program is important, but people's feelings are even more important'—this empathy is more precious than any skill."

Kenta Watanabe scratched his head and said with a smile, "Now that Hiroshi-san has been promoted to deputy director, he'll definitely bring more great ideas to our variety show department! I'm already looking forward to the new theme for 'Super Transformation'!"

In the Tokyo TV administration office, several clerks were organizing documents, and the conversation naturally turned to Hiroshi Nohara's promotion.

"Have you heard? Hiroshi-san has been promoted to Level 2 Director and has also become the Deputy Director of the Kanto TV Station!" Kobayashi Miho, the clerk in charge of filing documents, said with surprise.

Kenichi Sato, the clerk in charge of financial reimbursements, held the recently approved expense report for "A Bite of China" and nodded, saying, "It should have been promoted a long time ago! I've looked at the expense report for 'A Bite of China,' and every penny has been spent wisely, such as buying equipment for artisans and conducting field research. Not a single penny has been wasted. There was a director who spent over 100 million on celebrity appearance fees for a variety show, but the ratings were still less than a fraction of 'A Bite of China's'!"

Takahashi Ryoko, the clerk in charge of personnel files, held Hiroshi Nohara's file in her hand and exclaimed, "Look at Hiroshi-san's file. He's been with the station for less than two years and has already won three major industry awards. The programs he makes either promote cultural heritage or change social values. Which station wouldn't want a talent like that?"

Miho Kobayashi put down the documents in her hand, her tone full of admiration: "Last time I went to deliver documents to Hiroshi-san, I saw that his office was covered with the contact information of artisans, and there was even a note saying, 'I call the old baker once a week to check on bread sales.' Who else can do that kind of dedication?"

Kenichi Satoh took a sip of tea and added, "Another time, when the budget for 'Seven Samurai' was a bit tight, Hiroshi offered to 'reduce his own director's fee and use the money for filming.' These days, which director isn't thinking about getting more money? Only Hiroshi could do something like that!"

Ryoko Takahashi closed the file and said with a smile, "With Hiroshi-san on TV Tokyo, our station will definitely develop even better in the future! I've already told my friends that I'll watch all the TV Tokyo programs from now on!"

In the production department office of Kanto TV, Yuichi Matsui held Hiroshi Nohara's promotion notice and spoke to Takashi Yamada, Ken Fujishita, and others with a tone full of emotion: "I always thought that the people at TV Tokyo didn't understand the traditional crafts of Kanto, until Nohara-kun talked to me about the 'sinking gold technique' of Ibaraki Prefecture lacquerware, and even knew about the most obscure 'red earth sinking gold' technique—that kind of reverence for culture is deeper than that of us native Kanto people. I admire him as deputy director."

Takashi Yamada put down the "Kanto Lacquerware" project proposal in his hand and nodded, saying, "I felt that my previous 'Fishing Port Changes' project was a bit lacking, but Hiroshi-kun only suggested 'tracking and filming the seasonal changes of fishermen's families,' and it instantly came to life. Now when I chat with the old fishermen in Chiba, they all look forward to starting filming soon, saying, 'We want more people to know about our lives.' With this ability to connect 'the work with people's hearts,' he really deserves a promotion."

Fujishita Ken walked in carrying a stack of advertising contracts, his chubby face squeezing into a wide grin: "I have some great news for you! The 'Asakusa-ya' sushi restaurant that was hesitant before immediately signed an annual advertising contract after hearing that Nohara-kun had taken on the role of deputy director. They even said they'd sponsor a documentary on Kanto TV! Their boss said, 'A program made with Nohara-kun is sure to touch people's hearts!'"

Kobayashi Jiro also joined in, his notebook filled with densely packed writing: "My previously rejected 'Old Street Exploration' and 'Traditional Dyeing' projects have all been revived by Hiroshi-san! He said, 'Every old craft has a story; the key is to find a point that resonates with young people.' Now, my projects are booked until the year after next, and even NHK has asked if we can co-produce!"

Shigeru Saito had remained silent until now, when he quietly took out his phone and pulled out some behind-the-scenes footage from the filming of "A Bite of China"—in the footage, Hiroshi Nohara was squatting on the ground, kneading dough with an old baker, holding a small notebook in his hand, carefully recording that "the temperature for yeast fermentation should be controlled at 28 degrees Celsius."

He waved his phone at everyone: "A director who can squat down and learn from a craftsman is a hundred times better than those who can only sit behind the monitor and point fingers."

As Matsui Yuichi watched the behind-the-scenes footage, he nodded slightly: "I used to think that making documentaries was just about showing the craft clearly, until Nohara-kun told me, 'Craftsmanship is inanimate, but people are alive. Only by showing the people alive can you show the craft alive.' Now I understand why his program is so popular—because he's filming the human heart!"

……

In the conference room of Osaka TV, Kosaku Yamada, holding a copy of the Asahi Shimbun, spoke to the station's editors with deep emotion: "I've been making documentaries for thirty years, always trying to capture the 'tradition' in its original form, but I forgot that the audience needs 'resonance.' Nohara-kun's 'A Bite of China' captures the old baker's longing within the dough and hides the fisherman's resilience within the waves—this ability to 'see the big picture in the small' is truly remarkable."

Yosuke Saeki, the director in charge of variety shows, held a recording clip of "Super Transformation" in his hand and sighed: "Our station wanted to imitate 'Super Transformation' to make a family talent show, but the result was like a farce. Later we found out that Nohara-kun added details of 'neighborhood mutual assistance' to the show, such as having neighbors help make props and having children teach the elderly to dress up—we didn't film that kind of connection between people at all."

Mai Kobayashi, the director in charge of the documentary, held the storyboard for "A Bite of China" in her hands, her tone full of admiration: "Look at this shot, when the old baker brushes egg wash on the bread, his hand will tremble involuntarily. Nohara-kun gave this close-up for five seconds, and even added the old tune that the old baker hummed—how come I didn't think of this kind of detail that is like 'hearing thunder in silence'?"

Kosaku Yamada took a sip of tea and added, “Last time I went to Tokyo for an industry conference, I talked to Mr. Nohara about the creative ideas behind Seven Samurai. He said, ‘Farmers are not a symbol of weakness; they have their own wisdom and courage.’ Later, when I rewatched Seven Samurai, I realized that when the farmers rebelled, the hoes in their hands were more powerful than the samurai swords—I am far from having such a deep understanding of the characters.”

Yosuke Saeki put down the clip he was watching and remarked, "Our channel's variety show ratings are getting lower and lower. I told the team, 'We need to learn from Nohara-kun's approach and film more heartwarming details,' but they always said, 'The audience just likes to watch the excitement.' Now that I see Nohara-kun get promoted, I'm even more certain that only programs that touch people's hearts can last."

Mai Kobayashi closed the storyboard and said with a smile, "I've already asked the station director if I can visit Nohara-kun next time I go to Tokyo and learn from him how to make documentaries with heart. With people like him, Japanese documentaries have a future!"

……

In the office of Nagoya TV station, several young directors were gathered around a computer, repeatedly watching clips from "Seven Samurai" and discussing them enthusiastically.

"Look at this shot, the farmer's hand holding the hoe, his knuckles are swollen, and there's mud under his fingernails—Nohara-kun even noticed such details!" Kenta Takahashi, the director in charge of the period drama, pointed at the screen, his tone full of surprise.

Nanako Sato, the director in charge of the documentary, held the filming notes for "A Bite of China" in her hand and nodded, saying, "When I filmed the documentary about Nagoya miso before, I only thought about filming the miso-making process, but the audience said it was too boring. Later, after reading Nohara-kun's filming notes, I realized that when he filmed the old baker, he not only filmed kneading the dough, but also filmed the old baker saving the favorite flavors for his regular customers—this kind of 'human touch' was something I had never considered before!"

Keisuke Suzuki, the post-production director, held the editing footage of "Tales of the Unusual" in his hand and exclaimed, "Last time I edited the 'The Watchmaker's Secret' episode, I always felt that the rhythm was off. Later, I learned from Nohara-kun's editing approach and interspersed close-ups of the watchmaker repairing watches with photos of his daughter. As a result, the audience said they were moved to tears! This ability to connect emotions with details is amazing!"

Kenta Takahashi took a sip of coffee and added, "When I was filming a period drama before, the actors' armor was all newly made and looked very shiny. But Nohara-kun said, 'Only the scratches and rust on the armor can show the general's experience.' So I asked the props department to age the armor and add some battle scratches, and the audience said, 'It makes you feel immersed in the story.' I have to learn from this kind of attention to detail."

Nanako Sato put down her filming notes and said with a smile, "Now that Nohara-kun has been promoted to deputy director, I heard that he is going to promote the 'cultural export' project. Maybe our Nagoya miso and lacquerware will also have the opportunity to be filmed in a documentary and go global!"

Keisuke Suzuki nodded, his tone full of anticipation: "If I could really work with Nohara-kun, I would definitely want to learn from him how to make films with heart. With a director like him, the Japanese film and television industry will definitely get better and better!"

……

In the conference room of Hokkaido TV, Takeuchi Ryo held up a clip from "A Bite of China" about the fishing season in Hokkaido. Speaking to the station's young directors, he said with deep emotion, "When I was filming 'Fishing Season,' I only thought about recording how the fishermen fished, but I forgot to film the hot tea their wives prepared for them when they got up at three in the morning. Nohara-kun, however, filmed all these details—the audience isn't watching the fishing techniques, but the human touch behind them!"

Kenta Kobayashi, the director in charge of the documentary, held the research materials for "A Bite of China" in his hand and nodded, saying, "When I went to Asahikawa, Hokkaido to film 'Ramen Masters,' I only filmed the ramen-making process, and the audience said they 'didn't feel anything.' Later, after reading Nohara-kun's research materials, I learned that before filming the old baker, he spent a month living with the old baker and learning about his story—I could never have done this kind of 'immersive' attitude before!"

Keisuke Sato, the director in charge of photography, held his photography notes from "Seven Samurai" and exclaimed, "Last time I shot a documentary about the snowy landscapes of Hokkaido, I always felt that something was missing from the footage. Later, I learned from Nohara's photography approach and used a low angle to shoot footprints in the snow, along with the sound of the wind. As a result, the audience said, 'It felt like we were there!' This ability to convey atmosphere through the lens is amazing!"

Ryo Takeuchi took a sip of tea and added, "I talked to Mr. Nohara about the creative ideas behind 'The Taste of Crossing Mountains and Seas' before. He said, 'We should film the collision of different cultures, such as the combination of Hokkaido's catch and Southeast Asian spices'—this kind of international perspective is something that we local TV station directors are far behind."

Kenta Kobayashi put down his research materials and said with a smile, "Now that Nohara-kun has been promoted to deputy director, I heard that NHK is going to collaborate with him on a 'cultural export' project. Our Hokkaido fishing season and Sapporo ramen might even get filmed. Then, people all over the world will be able to see the beauty of Hokkaido!"

Keisuke Sato nodded, his voice full of anticipation: "If I could film with Nohara-kun, I would definitely learn from him how to use the camera to record culture and convey emotions. With someone like him, more people will surely know about our traditional Japanese crafts and stories!"

The discussion in the conference room of the Japan Broadcasting Association continued, with afternoon sunlight streaming through the floor-to-ceiling windows and casting dappled shadows on the table.

After hanging up the phone with Yuichi Miyazawa, Masao Watanabe turned to look at everyone, his eyes filled with seriousness: "Everyone, after talking with Director Miyazawa, he also agreed with our idea—Hiroshi Nohara is not only a talent of TV Tokyo, but also a 'potential stock' in the entire Japanese culture field. Our association must treat him as a key target for development."

Upon hearing this, Kiyokazu Sato immediately put down the documents in his hand and leaned forward slightly: "Chairman Watanabe is right. In the Japanese film and television industry today, most of the older generation of directors are sticking to tradition, while the younger generation lacks capable talent. Hiroshi Nohara fills this gap perfectly. He understands the value of traditional crafts, knows the aesthetics of young people, and can grasp the needs of the international market—it would be a shame not to focus on cultivating such a person."

“Exactly!” Takashi Yamada chimed in, tapping his fingers lightly on the table. “I spoke with the director of the Cultural Affairs Bureau of the Ministry of Education before, and he said that the cabinet’s biggest headache right now is the ‘cultural transmission gap’ and ‘weak international communication.’ Hiroshi Nohara’s ‘A Bite of China’ has solved both of these problems: it has both rekindled young people’s interest in traditional crafts and allowed foreigners to learn about Japanese culture through food. If we can elevate it to a higher level, it will benefit the entire country’s cultural strategy.”

Masao Watanabe nodded, took a thick folder from his drawer, and placed it on the table: "This is a compilation of all of Hiroshi Nohara's works and industry reviews that my secretary organized. As you can see, from 'Yamishibai' to 'Seven Samurai,' every work is a breakthrough; from an ordinary director to the head of the independent production department, and now a second-level director and deputy director of the Kanto TV station, his growth rate far exceeds that of his peers. More importantly, he is not only talented, but also understands 'responsibility'—when filming 'Super Transformation,' he took the initiative to promote neighborhood interaction; when filming 'Midnight Diner,' he focused on the needs of the lonely community. Such a responsible young man deserves our resources to cultivate."

Kiyokazu Sato picked up the folder and quickly flipped through it, his tone full of emotion: "Look at this audience survey. Among the viewers of 'A Bite of China,' young people aged 20-30 account for more than 60%, and another 15% are foreign viewers. In the past, when we made documentaries about traditional crafts, the audience was mostly middle-aged and elderly people. But Hiroshi Nohara was able to make young people and foreigners interested. This ability to 'break out of the circle' is both innate and the result of hard work."

Suddenly remembering something, Takashi Yamada's tone became more expectant: "I have an idea. Our association could work with TV Tokyo to set up a 'Cultural Innovation Special Fund' for Hiroshi Nohara, specifically to support his projects that 'integrate tradition and modernity.' For example, we could have him make a documentary that 'rejuvenates traditional crafts,' or develop overseas derivative content for 'A Bite of China'—this would not only help him expand his creative boundaries but also set an 'innovation benchmark' for the industry."

Upon hearing this, Suzuki Abe immediately nodded in agreement: "That's a great idea! The special fund can not only provide financial support, but also help him connect with more resources—such as the Ministry of Education's artisan profile, the Ministry of Foreign Affairs' overseas promotion channels, and even the Cabinet's cultural export policies. With these resources, the scope of influence that Hiroshi Nohara's works can have will be much larger than it is now."

Looking at the enthusiastic discussion, Masao Watanabe smiled with satisfaction: "Everyone's ideas are very insightful. However, we need to consider the long term—Hiroshi Nohara is only 23 years old and has decades of development potential ahead of him. We should not only support his creative work but also help him build 'industry influence' and 'social recognition.' For example, we could recommend him to join the Agency for Cultural Affairs' 'Committee for the Preservation of Traditional Crafts,' invite him to serve as a judge at international documentary film festivals, and even have him participate in the Cabinet's 'Cultural Strategy Seminar.'"

Kiyokazu Sato paused for a moment, then realized: "Chairman Watanabe, you mean... you want him to develop in the direction of 'cultural policy'?"

Masao Watanabe didn't answer directly. Instead, he looked out the window at the Tokyo street scene, his tone tinged with emotion: "What Japan lacks most right now is a multi-talented individual who 'understands culture, communication, and policy.' Hiroshi Nohara has creative abilities and can understand the needs of the grassroots; he has an international perspective and can grasp overseas markets; and he also has a sense of responsibility and is willing to work for cultural preservation. If we can gradually get him involved in the political arena, he might become a bridge connecting the 'cultural world' and the 'political world' in the future—which would be more valuable for the long-term development of the entire country than simply being a director."

Upon hearing this, Takashi Yamada's eyes lit up instantly: "That's right! Most of the cabinet's cultural policies are decided by politicians on a whim, with little consideration for actual dissemination effects. If Hiroshi Nohara could get involved, he could offer suggestions from a creator's perspective, making the policies more aligned with market demands and closer to people's lives. For example, the Ministry of Education's 'Traditional Crafts Promotion Plan' has been ineffective because its methods are too rigid. If Hiroshi Nohara were to design it, perhaps it could be implemented in a 'storytelling' way, like 'A Bite of China'."

Kiyokazu Sato nodded in agreement, his tone full of conviction: "I spoke with Minister Hattori before, and he said that Tokyo's 'Cultural Promotion Plan' is currently lacking an advisor who 'understands communication.' If we could recommend Hiroshi Nohara to Minister Hattori and have him participate in the plan's formulation and promotion, it might just elevate Tokyo's cultural influence to another level. Moreover, Hiroshi Nohara has a very good reputation among the public, and with his involvement, the policy's acceptance would be even higher."

Suzuki Abe suddenly thought of a question, his tone tinged with worry: "But Hiroshi Nohara's main focus is on his creative work now. Would he be unwilling to get involved in the political arena? After all, many creators are averse to being 'bound by policies'."

Masao Watanabe smiled and shook his head: "I'm not worried about that. I talked to Nobuhiko Sakata before, and he said that although Hiroshi Nohara is focused on his creative work, he is very clear that 'culture needs policy support.' When filming 'A Bite of China,' he took the initiative to contact the local government and secured 'subsidies for the protection of traditional crafts.' When working on the 'cultural export' plan, he was also willing to communicate with the relevant departments of the cabinet. He is not the kind of creator who 'works in isolation,' but rather knows how to 'leverage the situation'—such a person, even if he gets involved in politics, will not lose his original intention of creating, but will be better able to use policies to promote cultural development."

Takashi Yamada picked up the documents on the table, flipped to the "Taste Across Mountains and Seas" project proposal, and said with anticipation, "Look at this project. Hiroshi Nohara plans to go to Southeast Asia, the Middle East, Europe, and other places to film collaborations between Japanese artisans and their local counterparts. If this project is successful, it will not only enhance the international influence of Japanese culture but also contribute to the Cabinet's 'cultural diplomacy.' If our association can help him connect with the Ministry of Foreign Affairs' overseas embassies and consulates to get the local Japanese cultural centers to cooperate with the filming, the project will be much more effective."

Kiyokazu Sato added, “I can also coordinate with NHK to promote ‘The Taste of Crossing Mountains and Seas’ as a ‘key project of the year,’ broadcasting it not only during prime time in Japan but also through NHK’s overseas channels to reach audiences worldwide. This way, Hiroshi Nohara’s influence will spread internationally more quickly, and the Cabinet will also see his ‘strategic value’—paving the way for his future access to higher-level policies.”

Looking at everyone's chatter, Masao Watanabe smiled knowingly. "It seems everyone has a clear idea. Next, we'll proceed in three steps: First, we'll collaborate with TV Tokyo to establish a 'Cultural Innovation Special Fund' to support Hiroshi Nohara's work; second, we'll recommend him to relevant meetings of the Agency for Cultural Affairs and the Cabinet to gain experience in policy-related areas; third, we'll help him connect with international resources to enhance his international profile. We want the Cabinet to see that Hiroshi Nohara can not only create excellent works, but also become a 'core driver' of Japan's cultural strategy."

Suddenly remembering something, Suzuki Abe asked, "Chairman Watanabe, should we communicate with TV Tokyo first? After all, Hiroshi Nohara works for TV Tokyo, and our training plan needs the support of Nobuhiko Sakata."

Masao Watanabe smiled and nodded: "I've already considered that. This afternoon I'll visit Director Sakata at TV Tokyo and discuss our plan in detail. Given how much Director Sakata values ​​Hiroshi Nohara, he'll definitely cooperate fully—after all, this isn't just for Hiroshi Nohara personally, but also for TV Tokyo and the future of Japanese culture as a whole."

The atmosphere in the meeting room gradually became more lively, and the topic shifted from the "training program" to "the responsibilities of the younger generation".

Kiyokazu Sato put down the folder in his hand, his tone tinged with emotion: "Actually, there's another important reason why we value Hiroshi Nohara so much—most of the younger generation in Japan today lacks 'responsibility' and 'long-term vision.' Many young people enter the film and television industry only thinking about making quick money by shooting fast-food variety shows and idol dramas, and few are willing to settle down and create works with cultural value. Hiroshi Nohara is an exception. He was willing to spend half a year following and filming an old baker, and he was willing to repeatedly polish a single shot—this kind of 'craftsman spirit' is something all young people should learn from."

Takashi Yamada wholeheartedly agreed, picking up a behind-the-scenes clip from "A Bite of China" on the table. Pointing to a scene where Hiroshi Nohara was squatting on the ground learning to knead dough from an old craftsman, he said, "Look at this shot. To film the segment about the old bakery in Saitama, he stayed in the shop for a whole month, preparing ingredients with Sato-san every day at three in the morning. He didn't complain even when his hands were blistered. Nowadays, very few young people have that kind of patience."

Suzuki Abe took over, his tone full of helplessness, "I've met a few recent graduates who, when shooting documentaries, didn't even do any background research on their interviewees; they just wanted to finish filming as quickly as possible and get it done. Compared to Hiroshi Nohara, they lack not only talent but also attitude. We're training Hiroshi Nohara to set an example for the younger generation—to tell them that in this industry, you need not only talent but also hard work and responsibility."

Masao Watanabe nodded, his tone becoming heavy: "The economic situation in Japan is becoming increasingly uncertain. The real estate bubble will burst sooner or later, and the whole society will face a 'crisis of confidence.' At times like these, we need cultural works that are warm and powerful to unite people's hearts. Hiroshi Nohara's works can do just that—'Midnight Diner' brings warmth to lonely people, 'Seven Samurai' shows people the courage to resist adversity, and 'A Bite of China' helps people rediscover the beauty around them. Such works are more touching than any policy slogans."

Upon hearing this, Kiyokazu Sato immediately added, "Moreover, Hiroshi Nohara's works can also drive the development of 'cultural economy.' For example, after 'A Bite of China' aired, the monthly sales of the old bakery in Saitama tripled, Chiba's fishing port saw a surge in tourists, and local government tax revenue also increased. If this model of 'culture driving the economy' can be promoted, it might become a 'new path' to cope with the economic crisis. And Hiroshi Nohara is the 'pioneer' of this path."

Looking at the documents on the table, Takashi Yamada suddenly spoke up: "I have another idea. Our association could work with the education department to include Hiroshi Nohara's works in primary and secondary school textbooks. For example, we could use clips from 'A Bite of China' to teach children about traditional crafts, and use episodes from 'Tales of the Unusual' to teach children about the good and evil in human nature. This way, not only can more young people learn about Hiroshi Nohara's works, but we can also cultivate their sense of identity with traditional culture from a young age—which is much more effective than simple policy promotion."

Watanabe Masao's eyes lit up and he immediately nodded: "That's a great idea! I'll contact the Ministry of Education's Board of Education tomorrow to push this forward. Hiroshi Nohara's works are both artistic and educational, making them very suitable as teaching materials. Moreover, through this method, his influence will penetrate into a wider audience, laying the foundation for his future participation in cultural policy-making."

The discussion in the conference room continued, ranging from training programs to role models, from cultural economy to education promotion. Everyone was brainstorming ideas for Hiroshi Nohara's future and the cultural development of Japan.

As darkness fell outside the window, the city's neon lights began to flicker, casting an expectant glow on the faces of everyone in the conference room.

……

In the evening, Watanabe Masao drove to the Cabinet Office Building with the compiled information on Nohara Hiroshi.

In the conference room of the Agency for Cultural Affairs, he met with Chief Cabinet Secretary Kenichi Matsumoto and Minister of Education Takashi Tanaka.

"Commander Matsumoto, Minister Tanaka, thank you for taking the time out of your busy schedules to see me." Watanabe Masao handed over the documents, his tone respectful yet firm. "The main reason I'm here today is to recommend someone to you both—Hiroshi Nohara from TV Tokyo."

Kenichi Matsumoto took the documents, flipped through a few pages, and asked with a hint of curiosity, "Hiroshi Nohara? I've heard of him. He's the young director who made 'A Bite of Japan,' right?"

"That's right!"

Masao Watanabe nodded, his tone full of admiration. "He not only directed 'A Bite of China,' but also a series of excellent works such as 'Yamishibai,' 'Seven Samurai,' and 'Super Transformation.' He has just been specially promoted to a Level 2 Director by TV Tokyo and also serves as the Deputy Director of the Production Bureau of TV Kanto. I am here today to suggest to the Cabinet that he be treated as a 'key talent to be cultivated in the cultural field.'"

Takashi Tanaka picked up the data and carefully looked at the overseas broadcast data of "A Bite of China," his eyes full of surprise: "A Bite of China has been viewed more than 800 million times in Southeast Asia? And it has also boosted local tourism and the revival of traditional crafts? This young man is quite capable."

Masao Watanabe quickly added, "His talents go beyond that. Look at this information: his film 'Super Transformation' changed the 'neighborly indifference' social atmosphere in Japan, and many communities organized family interaction activities because of the program; his film 'Seven Samurai' was hailed by the industry as a 'new benchmark for samurai films' and even received a nomination at an international film festival. More importantly, he is only 23 years old, and his future development potential is limitless."

Kenichi Matsumoto put down the documents, tapping his fingers lightly on the table, his tone thoughtful: "Chairman Watanabe, do you mean to have the Cabinet give this young man more resources and opportunities?"

"Yes!"

Masao Watanabe stated firmly, "The Cabinet is currently promoting two major strategies: 'cultural export' and 'revival of traditional crafts.' Hiroshi Nohara is perfectly suited to be the 'core executor' of these two strategies. He understands creation and can produce works that are loved by audiences both domestically and internationally; he understands communication and can truly help Japanese culture 'go global'; he also understands responsibility and is willing to dedicate time and energy to cultural preservation. If the Cabinet can support him, it will not only accelerate the implementation of the strategies but also cultivate a capable 'young generation leader.'"

Takashi Tanaka nodded, his tone full of agreement: "The Ministry of Education's biggest headache right now is that 'traditional crafts have no successors' and 'cultural dissemination lacks innovation.' Hiroshi Nohara's 'A Bite of China' has solved these two problems. If we can get him to lead more similar projects, such as 'rejuvenating traditional crafts' and 'international cultural exchange documentaries,' it will be of great help to our cultural strategy."

Kenichi Matsumoto looked at the two of them and suddenly asked, "So, what do you think we can give this young man besides resources? Should we let him participate in some cabinet cultural policy meetings?"

Masao Watanabe's eyes lit up, and he nodded quickly: "That's exactly what I wanted to suggest! Letting him participate in policy meetings will allow him to offer suggestions from a creator's perspective, making policies more aligned with actual needs, and it will also allow him to accumulate 'policy vision.' In the future, he might become a bridge connecting the 'cultural world' and the 'political world'—after all, Japan is currently in dire need of well-rounded political talents who understand both culture and communication."

Takashi Tanaka echoed, "I agree. We can first invite him to participate in the Ministry of Education's 'Traditional Crafts Protection Committee' as a 'cultural advisor,' and then gradually expose him to higher-level policy discussions. For example, let him participate in the formulation of the 'Cultural Overseas Expansion Special Project' or the research on 'Elementary and Secondary School Cultural Education Reform'—this way, we can leverage his strengths and also let him gradually become familiar with the workings of the political arena."

Kenichi Matsumoto pondered for a moment, then his tone became serious: "Alright! Let's go with your suggestion. Chairman Watanabe, could you please communicate with Nobuhiko Sakata of TV Tokyo? The Cabinet will provide Hiroshi Nohara with special funding and policy support, and will also invite him to participate in relevant meetings and projects. We need to let this young man know that the Cabinet values ​​him, and that the whole country needs talent like him."

Upon hearing this, Masao Watanabe smiled with satisfaction: "Thank you, Chief of Staff Matsumoto and Minister Tanaka! I believe that with the support of the Cabinet, Hiroshi Nohara will be able to make even greater contributions to the cultural development of Japan."

As I walked out of the Cabinet Office building, night had already fallen, and the streets of Tokyo were brightly lit.

Looking at the neon-lit skyscrapers in the distance, Watanabe Masao was filled with anticipation—he knew that today's recommendation not only paved a broader path for Nohara Hiroshi, but also planted a seed of hope for the cultural future of Japan.

And this seed will surely grow into a towering tree that supports the cultural development of the entire industry and even the entire country in the near future.

And Watanabe Masao's eyes were shining, his heart filled with unparalleled pride: "If we fight against the Japanese again in the future, then Nohara Hiroshi is the seed I planted for the resurgence of Japan!"

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(End of this chapter)