I, Hiroshi Nohara, the star of Japanese cinema

Chapter 258 A Belated Victory Celebration! The Tokyo TV victory celebration ends, then it's Kanto TV's turn! Misae's heartwarming moment!

Hiroshi Nohara traveled with the filming crew to Mito City, Ibaraki Prefecture early in the morning for the eighth episode of "A Bite of Japan," titled "The Sticky Aroma of Natto," to document the century-old craftsmanship of "Sato-ya," a traditional natto-making family in Mito.

As soon as the car stopped at the alley entrance, the faint aroma of soybeans wafted from the wooden fermentation room. The sixth-generation successor, Kenichi Sato, was squatting at the door turning over the straw to dry. Upon seeing Hiroshi Nohara, he immediately put down the wooden rake in his hand and came over to greet him: "Hiroshi-san, you've finally arrived! Mito natto is different from other places. It has to be made with our local 'early-growing soybeans' and then wrapped in frost-covered straw for fermentation to give it this special stickiness."

Hiroshi Nohara followed Kenichi Sato into the fermentation room, where more than twenty earthenware jars were neatly arranged, their mouths covered with burlap. "These jars were passed down from my grandfather and have been used for over forty years. The microorganisms on the jar walls help the natto absorb the flavor better." Kenichi Sato lifted the lid of one of the jars, picked up some natto with bamboo chopsticks, and long, thin strands of sticky natto dripped down. "Nowadays, young people find making natto by hand troublesome and switch to machine fermentation, but it lacks the aroma of straw and always feels like it's missing a bit of the taste of home."

"Sato-san, can I film you turning the straw?" Hiroshi Nohara turned to the photographer and said, "Shoot from a low angle to highlight the dew on the straw and the calluses on your hands, and record the 'rustling' sound of turning the straw clearly."

He squatted down beside the earthenware jar, watching Kenichi Sato gently turn the natto with his hands, and suddenly added, "How about we film the scene where you deliver natto to your regular customers later? I heard that you deliver fresh natto to Grandma Yamada at the end of the alley every day. This detail will allow the audience to feel the warmth of handmade natto."

At noon, Kenichi Sato's grandson, Shota Sato, came home from school and rushed into the fermentation room with his backpack: "Grandpa, Hiroshi-san, I brought my school lunch. Let's eat natto rice together!"

Hiroshi Nohara watched as Shota skillfully mixed natto into the rice and added some seaweed flakes. Suddenly, he pointed the camera at the hands of the grandfather and grandson—the old man's rough hands and the child's delicate hands were mixing natto together. Sunlight streamed through the wooden window onto the dining table, creating a warm atmosphere of tradition.

"Hiroshi-san, after your 'A Bite of China' documentary aired, many Tokyoites came to our store to buy natto, and even the mayor of Mito City came to visit!" Shota said while eating, his eyes shining with pride.

Before leaving Mito City, Hiroshi Nohara made a special trip to the Ibaraki Prefectural Agricultural Cooperative. The chairman, Hiroshi Suzuki, held up the sales report and said with a smile, "Hiroshi-kun, thanks to you, everyone knows that your 'A Bite of China' program will be filming here. The pre-sales of Mito handmade natto have more than doubled, and department stores in Osaka and Nagoya have said they want to buy from us! Next time you film agricultural products, you must choose Ibaraki again!"

Hiroshi Nohara took the report but didn't linger—the ninth episode, "The Time of Pickling," was to be filmed at the century-old pickling shop "Matsuya" in Matsusaka City, Mie Prefecture, featuring pickled plums.

In an old alley in Matsusaka, the wooden sign of "Matsuya" has been hanging for 120 years, and the proprietress, Sumie Matsumoto, is picking green plums in the courtyard with her apprentice.

"Hiroshi-san, Matsusaka plums must be made with our local 'Nanko plums' because they have thin skin and thick flesh, so they can be pickled to be both sour and sweet."

She held a bamboo basket in her hand, and the juice of green plums still clung to her fingernails. "The green plums that have been picked must be rubbed with coarse salt immediately, and then put into an earthenware jar to pickle for three months. They must be turned over once a day, otherwise they will rot."

Hiroshi Nohara had the photographers split into two groups: one group photographed the green plums in the courtyard, capturing close-ups of the moment dewdrops slid off the plums; the other group photographed the pottery jars in the workshop, shooting from above the curve of Sumie Matsumoto turning the dried plums with a wooden spoon.

"Matsumoto-san, why do you insist on pickling vegetables by hand?" he asked softly. Matsumoto Sumie wiped the sweat from her brow and pointed to an old photograph on the wall: "This is my mother-in-law. This is how she pickled plums back then. Machine-cured plums are ready in three days, but they lack the flavor of waiting. How can they be considered authentic Matsusaka plums?"

As evening fell, a regular customer, Watanabe Yukie, came in carrying a cloth bag to buy dried plums. Seeing the camera, she smiled and said, "Hiroshi-san, I've been eating Matsuya's dried plums for forty years, from my teenage years to becoming a grandmother, and the taste has never changed. After watching your documentary 'A Bite of China,' I specially brought my granddaughter here to learn how to pickle plums so she can also know how good the old craftsmanship is."

Hiroshi Nohara immediately turned the camera on the grandmother and granddaughter. Yukiko Watanabe taught her granddaughter to identify the pickled plums. The little girl gently touched the plums with her fingers and said with a smile, "Grandma, the skin of the plums is so chewy!" This dialogue later became the highlight of the ninth episode, reminding countless viewers of their own elders.

The tenth episode, "The Sea Breeze of Grilled Fish," was filmed at Choshi Fishing Port in Chiba Prefecture, where Masayoshi Nomizu and his fishermen were already waiting at the dock.

The fishing port was filled with the smell of fish in the early morning. Fishermen gutted and scaled the freshly caught mackerel, rubbed them with coarse salt, and grilled them over charcoal.

"Hiroshi-san, the grilled fish in choji needs to be grilled until the skin is crispy and the flesh is still juicy. It has to be grilled with charcoal from the fishing port. You can't get the same flavor with a gas stove in Tokyo." Nomizu Masayasu flipped the grilled fish, and amidst the crackling of the charcoal, fish oil dripped onto the fire, sending up tiny sparks.

Hiroshi Nohara had his team follow the fishermen as they went out to sea. When the mackerel leaped out of the water, the photographer immediately captured the morning light reflected off the fish.

"Record the fishermen's cheers clearly, as well as the 'whoosh' sound of the fishing nets being pulled in."

He shouted to the sound engineer, then turned to his assistant and said, "Film the scene of fishermen having dinner together in the evening. Film them sitting around the dock, drinking sake with grilled fish. The lively atmosphere in the sea breeze is the most touching."

The final episode of "A Bite of China," the eleventh, titled "The Craftsmanship of Teppanyaki," was filmed at "Daikokuya," a century-old teppanyaki restaurant in Osaka.

Chef Takashi Kuroda is seventy years old this year. He started learning teppanyaki from his father when he was fifteen. Now he can cook beef to medium-rare on the teppanyaki grill and keep the onion rings crisp and sweet.

"Hiroshi-san, the most crucial thing about teppanyaki is the heat. The beef should be seared on a 220-degree teppanyaki plate for 30 seconds, flipped over and seared for another 20 seconds, and finally simmered for 10 seconds with the residual heat of the teppanyaki plate. This way, the juices won't be lost."

Kuroda Takashi gripped the spatula, his wrist flicking slightly, and the beef sizzled on the hot plate, releasing an instant aroma of fat.

Hiroshi Nohara asked the photographer to take close-up shots of the teppanyaki grill—the blood slowly seeped out of the beef, the edges of the onion rings were charred, and Takashi Kuroda's teppanyaki spatula drew clean arcs on the grill.

"Why do you insist on using traditional iron plates?" he asked.

Kuroda Takashi wiped the griddle, his eyes full of determination: "Electronic griddles can control the temperature, but they can't control the 'feel' of the meat. When an old griddle is used for a long time, a layer of oil film will form on the surface, and the meat cooked on it will have the aroma of the griddle, which is something that electronic griddles can't match."

By the time the last shot was filmed, night had fallen in Osaka.

Looking at the screen, Hiroshi Nohara suddenly bowed to his team: "Thank you everyone. We've captured the vibrant atmosphere of neon lights through eleven stories."

The team members applauded, and someone said with a smile, "Hiroshi-san, it was through filming 'A Bite of China' with you that we realized there are so many heartwarming stories behind the food."

When Hiroshi Nohara returned to TV Tokyo with the final footage of "A Bite of China," a red banner had already been hung in front of the office building that read "Congratulations to Hiroshi Nohara on his promotion to Level 2 Director," and two rows of flower baskets were placed at the entrance, specially sent by TV Kanto and NHK.

Nobuhiko Sakata stood at the entrance of the hall, dressed in a sharp suit. Upon seeing Hiroshi Nohara, he immediately smiled and walked up to him: "Hiroshi-kun, I've been waiting for you for a long time! The promotion ceremony is scheduled for 2 p.m. All the middle and senior managers of the station are here, and several retired station directors have also come specially to see you, this 'genius director'."

At 2 p.m., the Tokyo TV auditorium was packed.

The first row was occupied by first-class directors such as Eiji Kurosawa and Keiko Matsumoto, the second row by second-class directors such as Masao Iwata, Takashi Ashikaga, and Takata Asano, and the back row by department heads and section chiefs.

Hiroshi Nohara, dressed in a dark suit, was greeted with enthusiastic applause as soon as he entered the auditorium. Even Eiji Kurosawa, who was usually stern and unsmiling, broke into a rare smile.

Nobuhiko Sakata stepped onto the stage, holding Hiroshi Nohara's promotion documents. His voice, amplified through the microphone, resonated throughout the auditorium: "Today, we witness a historic moment—Hiroshi Nohara has been promoted from a Level 3 Director to a Level 2 Director through special approval, while also serving as the Deputy Director of the Production Bureau of Kanto TV. In less than two years since joining the station, he has delivered an astonishing record: 'Yamishibai' pioneered a new genre of urban fantasy animation, achieving a viewership rating exceeding 25%; 'Super Transformation' changed the cold atmosphere of Japanese neighborhoods and was listed as a 'Social Harmony Promotion Project' by the Cabinet; 'Seven Samurai' garnered an international film festival nomination, bringing Japanese samurai films back to the world stage; and 'A Bite of Japan' boosted local tourism and revived traditional crafts, earning special praise from the Ministry of Education. Such talent and dedication are worthy of our emulation!"

No sooner had Nobuhiko Sakata finished speaking than Eiji Kurosawa stood up first, holding a movie poster for "Seven Samurai": "Hiroshi-kun, I've been making samurai films for forty years, and I've always felt that the core of samurai films is 'honor' and 'battle,' until I saw your 'Seven Samurai,' and I realized that samurai films can also depict 'the courage of farmers' and 'class reconciliation.' The farmers in your films, the hands holding hoes, have more power than the samurai's hands holding swords. I am ashamed of my own lack of understanding of human nature in this regard!"

Keiko Matsumoto also stood up, holding the script for "Midnight Diner" in her hand: "Hiroshi-kun, I always thought young people couldn't make heartwarming films with depth, until I saw 'Midnight Diner.' You used a bowl of ramen to talk about loneliness, and a plate of tamagoyaki to talk about regret. There were no fancy lines, but it touched people's hearts more than my romance dramas. Last time I was filming 'Sakura Love,' I specifically learned your technique and added a scene where the male lead folds cherry blossom bookmarks for the female lead. The audience all said, 'It's so sweet!' It's all thanks to you!"

Sitting in the second row, Masao Iwata held the storyboard for "Yamishibai" in his hand, his face full of emotion: "Hiroshi-san, I was unconvinced before, thinking you were just lucky to direct 'Yamishibai,' until I carefully studied your storyboard—the 'Scarecrow' episode, where you shot the scarecrow's shadow in the wheat field from a low angle, coupled with the cawing of crows. That sense of suspense wasn't achieved through special effects, but through meticulous attention to detail. When I was directing 'Onibō Samurai,' I only focused on the exquisite visuals, but lacked this dedication to detail. I will learn from you in the future!"

Ashikaga Takashi also stood up, holding his filming notes for "The Warring States Period": "Hiroshi-san, when I'm filming period dramas, I always think about making the armor shiny and the fight scenes flashy, but you told me, 'The scratches on the armor are what tell the story.' Last time I filmed 'The Warring States Period,' I specifically asked the props team to age the armor, adding some scratches and rust from battles, and the audience said, 'It made me feel more immersed.' Now my filming notes are full of your suggestions, such as 'When filming a general in solitude, don't film his face, film his hands repeatedly wiping his old sword.' These details have elevated my work to a whole new level!"

Holding a letter from a viewer of "Mother's Bento," Kita Asano smiled and said, "Hiroshi-san, you told me last time that 'heartwarming films should focus on details, not just tears.' When I was filming 'Mother's Bento,' I added a scene where the mother draws little patterns on the bento box—she draws smiley faces on the rice balls and writes 'Remember to heat it up' on the pickle bag. These details made the audience cry and laugh at the same time. Now the show's ratings are 10 percentage points higher than before, and the audience letters are piled up on the table, all asking, 'When will there be a sequel?'"

Hiroshi Nohara stepped onto the stage, accepted the Level 2 Director certificate from Nobuhiko Sakata, and gently stroked the gold lettering on the certificate with his fingers. His tone remained calm: "Thank you for the station's recognition, and thank you to all the seniors for your guidance. My achievements today are inseparable from the support of my team—Section Chief Ichiro Hashimoto helped me control the animation quality of 'Yamishibai,' Section Chief Takeshi Yamamoto helped me polish the script of 'Tales of the Unusual,' and Section Chief Kei Tanaka helped me advance the recording of 'Super Transformation.' Moreover, I would not have been able to do without the platform provided by TV Tokyo, which allowed me to create freely and to film the neon stories I see in Japan for everyone to see."

He paused, then looked at the young director below the stage:

“I know many of my younger colleagues are worried that seniority will bury their talents, but I want to tell everyone that true talent will never be buried. As long as you are willing to immerse yourself in your work, willing to polish a single shot repeatedly, and willing to delve into life for a story, you will definitely be seen. In the future, I will set up a ‘Creative Exchange Room’ at Kanto TV, where we will discuss projects and refine our work together every week. Together, we will share Japan’s great stories and skills with more people!”

As soon as Hiroshi Nohara finished speaking, thunderous applause erupted throughout the room. Even the retired station director stood up and gave Hiroshi Nohara a thumbs up: "Young man, well done! With talent like you at TV Tokyo, we don't have to worry about the next thirty years!" Now, who doesn't acknowledge Hiroshi Nohara's talent?
As evening fell, the private rooms of the "Matsuha" club in Ginza were brightly lit.

The tatami mats are covered with patterned cushions, fresh irises are placed in a celadon vase in the corner, and exquisite Japanese dishes such as sashimi, grilled sea bream, and tempura are laid out on the table, along with a jar of ten-year-aged sake.

Nobuhiko Sakata sat in the main seat, with Toshihide Takada and Asumi on either side. First-class directors such as Eiji Kurosawa and Keiko Matsumoto sat next to him, while second-class directors such as Masao Iwata, Takashi Ashikaga, and Kita Asano sat in a circle.

As soon as Hiroshi Nohara entered the private room, Kita Asano approached him with a glass of wine: "Hiroshi-san, let me toast you! Last time you told me that the core of a heartwarming film is 'resonance,' not 'sentimentality,' so when I was filming 'Mother's Bento,' I deliberately cut the line where the female lead cries and says 'I miss my mother,' and changed it to her eating her bento and seeing the smiley face on the rice ball, her lips unconsciously curving upwards. As a result, this scene became the most popular part of the entire film, with viewers saying, 'It made me cry, and it also made me hungry!'"

Hiroshi Nohara took the glass and gently touched it to Kita Asano's: "Asano-san, you're too kind. You understand the core of heartwarming films. I just offered a small suggestion. The detail you showed of the mother drawing patterns on the bento box is more touching than any dialogue. That's what makes a truly good film."

As soon as the two sat down, Eiji Kurosawa handed them a pair of chopsticks and pointed to the grilled sea bream on the table: "Hiroshi-kun, try this grilled sea bream. It's the most authentic Ginza-style cooking. When I was young, I would come here to eat sea bream when I was tired from filming samurai movies. Back then, I always felt that the core of samurai movies was 'fighting.' When I was with you during the filming, I've been studying 'Seven Samurai' ever since, and I've come to realize that the core of samurai movies is 'protection'—samurai protect farmers, and farmers protect the land. This kind of two-way protection is more powerful than simple fighting."

Hiroshi Nohara picked up a piece of sea bream, the sweetness of the fish spreading in his mouth. He smiled and said, "Kurosawa-senpai, you flatter me too much. When I was filming 'Seven Samurai,' you were always there to help me, and many of my inspirations came from your works. For example, the scene of 'samurai and farmers farming together' was inspired by your technique of 'generals and soldiers eating together,' except I changed 'general' to 'samurai' and 'soldier' ​​to 'farmer.'"

Upon hearing this, Eiji Kurosawa laughed heartily: "Good lad, you've actually studied my work! But you're better than me; you portrayed the topic of 'class' in a gentler way, making it more relatable to ordinary people's lives. If there's a chance in the future, I'd like to collaborate with you on a samurai film, about a 'retired samurai opening a soba noodle shop.' It's sure to be a hit!"

Keiko Matsumoto picked up a matcha wagashi and handed it to Hiroshi Nohara: "Hiroshi-kun, try this wagashi. It's made by the long-established Kyoto shop 'Toraya.' When I'm filming romance dramas, I always try to attract viewers with fancy lines and romantic scenes. But after watching your 'Midnight Diner,' I realized that 'ordinary daily life' is more touching. Last time I filmed 'Sakura Love,' I used your technique and added a scene where the male and female leads buy rice balls together at a convenience store—the male lead heats up the rice ball for the female lead, and the female lead wipes the rice grains from the male lead's mouth. There's no kiss, but it's sweeter than a kiss. Viewers all said, 'It's so real!'"

Hiroshi Nohara took the wagashi, took a bite, and savored the delicate flavor of matcha mixed with the sweetness of red bean: "Matsumoto-senpai, you flatter me. The core of romance dramas isn't 'romance,' but 'companionship,' just like the customers in 'Midnight Diner,' who don't come to eat delicious food but to find companionship. The scene you filmed where you buy rice balls at a convenience store perfectly captured the core of 'companionship,' which is why it's so popular."

Asumi picked up the sake bottle and poured a glass of sake for Hiroshi Nohara, her voice full of emotion: "Hiroshi-kun, I have to tell everyone about your sense of responsibility. When we were filming 'A Bite of China,' you stayed at Sato-ya for a whole month to film the Mito natto, working with Kenichi Satoh every day at 3 a.m. to turn over straw, and you never complained even when you got blisters on your hands. When we were filming Matsusaka plums, you followed Sumie Matsumoto to pick plums and rub salt grains to understand the pickling process, and your skin got two shades darker. This kind of attitude of immersing yourself in life is something that many young directors don't have."

Takada Toshihide nodded in agreement, holding the overseas broadcast report of "A Bite of China": "Ashimi-kun is right. 'A Bite of China' has been viewed over 800 million times in Southeast Asia. Many foreign viewers want to travel to Japan after watching it. Even Thai TV stations have come to us to discuss cooperation, wanting to make a 'A Bite of Thailand and Japan'. This is all thanks to Hiroshi-kun. You used food as a bridge to allow people from different cultural backgrounds to feel the warmth of Japan."

Nobuhiko Sakata put down his glass and looked at the assembled guests: "Everyone, what's most precious about Hiroshi-kun isn't his talent, but his 'original intention.' After he became famous, he didn't rush to make commercial films to make quick money, but continued to make cultural documentaries like 'A Bite of China'; after his promotion, he didn't think about putting on airs, but instead thought about setting up a 'creative exchange room' to help young directors. This kind of original intention is more precious than any talent. From now on, TV Tokyo will fully support Hiroshi-kun's work, whether it's funding, equipment, or personnel, whatever he needs, we will provide!"

Looking at the room full of his seniors and colleagues, Hiroshi Nohara felt a surge of warmth in his heart. He stood up, raised his glass, and bowed to everyone: "Thank you all for your recognition and support. I know I still have many shortcomings, such as needing to learn more in management and gain more experience in international communication. I will continue to work hard in the future, to live up to everyone's expectations, and to live up to the training provided by TV Tokyo. I raise a glass to everyone, hoping that we can work together to create more heartwarming and profound works in the future!"

Everyone raised their glasses, and the aroma of sake filled the private room.

Masao Iwata chatted with Hiroshi Nohara about the sequel to "Yamishibai," Takashi Ashikaga asked for advice on camera techniques for period dramas, Kita Asano discussed the narrative rhythm of heartwarming films, while Eiji Kurosawa and Keiko Matsumoto discussed with Nobuhiko Sakata how to secure more resources for Hiroshi Nohara.

The celebration banquet didn't end until late at night. Hiroshi Nohara walked out of the club with a slight buzz. The evening breeze swept across the streets of Ginza, and the neon lights reflected on his face, which was full of warmth and determination.

The next morning, as soon as Hiroshi Nohara arrived at the entrance of the Kantodai, he was surrounded by Yuichi Matsui, Takashi Yamada, Ken Fujishita, and others.

Matsui Yuichi held a red ribbon in his hand, which read, "Congratulations to Hiroshi-san on his promotion to Level 2 Director and his appointment as Deputy Director of Kanto TV." His face was full of smiles: "Hiroshi-san, we all heard about the ceremony at Tokyo TV yesterday. Senior Kurosawa Eiji and Senior Matsumoto Keiko spoke very highly of you! Today, Kanto TV must also celebrate properly, both to celebrate your promotion to Level 2 Director and to celebrate your appointment as Deputy Director of Kanto TV. This is a great event for Kanto TV!"

Holding a stack of proposals, Takashi Yamada smiled and said, "Hiroshi-san, these are new documentary proposals submitted by our young directors at Kanto TV. They include 'Ibaraki Lacquerware Heritage,' 'Chiba Fishing Port Changes,' and 'Made in Mie Prefecture Wagashi.' They were all inspired by your 'A Bite of China' and want to film the traditional crafts and culture of our Kanto region. Now that you're the deputy director, you'll have to give us your feedback and see how to revise these proposals to make them more engaging."

Fujishita Ken, clutching a stack of advertising contracts, grinned, his chubby face contorted into a wide grin: "Hiroshi-san, thanks to you, Asakusa-ya Sushi not only signed an annual advertising contract with us, but also sponsored 5 million yen for a documentary; Matsuya Pickles has also reached a cooperation agreement with us to make a documentary called 'The Century-Old Story of Matsusaka Umeboshi.' Now our advertising revenue on Kanto TV has increased by 30% compared to last year, and the employees will be getting much bigger bonuses. Everyone is looking forward to your guidance!"

Kobayashi Jiro held a notebook filled with densely packed writing: "Hiroshi-san, the 'Old Street Exploration' project that was previously rejected has now started filming. Yesterday we spent the whole day filming in the Tanine Sen Old Street, and the old shop owners were very cooperative, saying, 'Thank you, Hiroshi-san, for letting more people know the stories of the old street.' As for the 'Traditional Dyeing' project, I added a scene of 'a young designer collaborating with an old craftsman' based on your suggestion, and now the Ministry of Education is asking if this project can be included in the 'Rejuvenating Traditional Crafts' project!"

Shigeru Saito had remained silent until now, when he quietly took out his camera and pulled out behind-the-scenes footage from the Kanto episode of "A Bite of China"—in the footage, Hiroshi Nohara was squatting in a lacquerware workshop in Ibaraki Prefecture, learning to apply lacquer from an old craftsman, his hands covered in lacquer but smiling happily; there was also a scene in Chiba fishing port where he was learning to cast nets from Masayoshi Nomizu, and when the net accidentally got tangled in his foot, the fishermen laughed as they helped him untangle it, and he laughed along with them.

Shigeru Saito handed the camera to everyone: "Hiroshi-san never thought of himself as a 'great director.' He always squatted on the ground with us, filming the details, and learning the craft from the artisans. We admire such a leader!"

Matsui Yuichi took the camera, looked at Hiroshi Nohara in the behind-the-scenes footage, and said with a smile, "Hiroshi-san, let's not stand at the door and chat. Sake and Japanese food have been prepared in the conference room, all of which are specialties of our Kanto region—Natto rice from Ibaraki, grilled fish from Chiba, pickled plums from Mie, and tempura made by our Kantodai canteen chef. Everyone is waiting to celebrate with you!"

The group escorted Hiroshi Nohara into the conference room, where a long table had already been set up. The dishes on the table were steaming, and the aroma of sake filled the air.

Matsui Yuichi picked up his glass and said to everyone, "Let's have two drinks today. The first is to celebrate Hiroshi-san's promotion to Level 2 Director, and wish him to make more great works in the future. The second is to celebrate Hiroshi-san becoming the Deputy Director of our Kanto TV station, and wish our Kanto TV documentary business continued success! Cheers!"

"cheers!"

Everyone raised their glasses, the clinking of sake echoing in the conference room.

Looking at his colleagues filling the room, Hiroshi Nohara felt a surge of warmth in his heart: "Thank you all for your recognition and support. I know that Kanto TV has faced many difficulties before, such as aging equipment and talent loss, but I believe that as long as we work together to film the traditional crafts and culture of the Kanto region well, Kanto TV will definitely be able to regain its vitality. I will come to Kanto TV often in the future to discuss plans with everyone and refine our work together. If you have any questions, please feel free to let me know, and we will solve them together!"

Matsui Yuichi put down his wine glass and picked up the proposal for "The Heritage of Ibaraki Lacquerware": "Hiroshi-san, look at this proposal. The young director wants to film the production process of Ibaraki lacquerware, but he feels like something is missing. Can you give me some suggestions?"

Hiroshi Nohara took the proposal and looked through it carefully: "This proposal is very good, but we can add a scene about the daily use of lacquerware. For example, we can film an old craftsman using lacquerware to serve his grandson rice, or a young designer using lacquerware to make a coffee cup, so that the audience can see that lacquerware is not an exhibit in a museum, but an object that can be integrated into daily life. Also, we should film the 'clash of ideas' between the old craftsman and the young designer—the old craftsman insists on traditional patterns, while the young designer wants to add modern elements. This kind of collision can make the film more exciting."

Takashi Yamada also submitted a proposal for "The Transformation of Chiba Fishing Port": "Hiroshi-san, this project aims to film the changes in Chiba fishing port from traditional fishing to modern fisheries, but I don't know how to balance 'traditional' and 'modern'."

Hiroshi Nohara said with a smile, "We could film a comparison between two generations of fishermen—the grandfather uses traditional fishing nets to catch fish, while the grandson uses satellite positioning to find schools of fish; the grandfather sells fish at the dock, while the grandson sells fish via live streaming. But we shouldn't emphasize 'who's better or worse,' but rather 'innovation within tradition'—the grandfather teaches his grandson how to identify schools of fish, while the grandson teaches his grandfather how to use his phone to check the weather forecast. This way, we can showcase the changes in the fishing port and convey the warmth of 'tradition'."

The group gathered around Hiroshi Nohara, listening to his suggestions, nodding in agreement from time to time, and occasionally offering their own ideas. The discussion in the meeting room grew increasingly lively. Ken Fujishita, holding the advertising contract, discussed with Hiroshi Nohara how to integrate the advertising into the documentary.

Kobayashi Jiro was holding a notebook, taking notes on Hiroshi Nohara's suggestions for revising the proposal;
Saito Shigenori talked to Nohara Hiroshi about upgrading equipment, saying he wanted to apply for funding to buy a few new cameras to make filming smoother.

The celebration banquet did not end until evening.

Hiroshi Nohara walked out of the Kanto-dai, heavily intoxicated, with a smile on his face.

When the driver dropped him off at his apartment building, he was still muttering about "meeting with NHK tomorrow about cultural export" and "helping the young directors at Kanto TV revise their project proposals."

When she opened the door, Misae Koyama saw his drunken state and quickly helped him to the sofa, handing him a glass of hangover soup: "Hiroshi-kun, why did you drink so much? Drink some hangover soup. I made you some natto rice to tide you over."

Hiroshi Nohara leaned against Misae, smelling the faint scent of her shampoo, and suddenly smiled: "Misa, my colleagues at Kanto TV are very enthusiastic. They talked to me about a lot of projects and even said they wanted to film Kanto's traditional crafts with me. Now I feel that the burden on my shoulders is heavier, but I am also more motivated."

Misae fed him hangover soup and said softly, "I know you're working hard, but you also need to take care of your health. You've been busy for several months straight. After filming 'A Bite of China,' you were busy with promotion matters, and now you have to manage the work at Kanto TV. If this continues, your health will collapse. I've already told Mom that we should rest well for the next couple of days and not think about anything. We'll go back to work once you've recovered."

For the next two days, Hiroshi Nohara spent almost all of his time sleeping.

Misae makes him light porridge and natto rice every day. Occasionally, she sits by his bedside, watching him sleep soundly, a gentle smile on her lips.

She knew that this man carried too much on his shoulders—not only his own creative dreams, but also the responsibility of cultural inheritance, and the expectations of the entire team.

All she could do was stay home and provide him with a warm haven when he was tired.

(End of this chapter)